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O. 'O • ft 







THE FOREST PRINCESS AND 
OTHER MASQUES 



BY 

CONSTANCE D'ARCY MACKAY 

Author of" Costumes and Scenery for Amateurs," " The Beau 
of Bath," etc., etc. 




NEW YORK 

HENRY HOLT AND COMPANY 

1916 



4> 

1? 









Copyright, 1916, 

BY 

HENRY HOLT AND COMPANY 



Published August, 1916 

No performance of these masques may be given without full 
acknowledgment to the author and publishers. Acknowledg- 
ment should be made to read as follows A" By Constance D'Arcy 
Mackay ; from The Forest Princess and Other Masques; Copy- 
right, 1916, by Henry Holt and Company; Produced by arrange-, 
ment with the publishers." \ 

Amateurs may produce the masques in this volume without 
charge. Professional actors must apply for acting rights to the 
author, in care of the publishers. 



•*-*"> 




THE QUINN A BODEN CO. PRESS 
RAHWAY, N. J. 



CI.A438890 
t 



PREFACE 

This volume contains six Masques designed for 
community use. Some can be produced out of doors, 
and others are especially adapted for indoor produc- 
tion. Notes on Masque music, Masque costumes, and 
the Revival of the Masque are also included. 

Thanks are due to The Bellman, The Drama Quar- 
terly, The Delineator , The Woman s Magazine, The 
Churchman, and The Ladies* World for permission to 
reprint material that has appeared in their pages. 

As this- volume goes to press many of the Masques 
it contains are in rehearsal, in colleges, cities, and 
outdoor theatres. Two of the Masques have already 
had production. The Forest Princess was first pro- 
duced at Mount Holyoke College, Mount Holyoke, 
Mass.; and The Gift of Time was first produced 
at the New York Y.W.C.A. (main branch) as a 
Christmas celebration, with an augmented cast and a 
chorus of fifty voices. 



in 



CONTENTS 

PAGE 

The Revival of the Masque .... i 
The Forest Princess. (A Masque in Three 

Acts) ii 

The Gift of Time. {A Christmas Masque) . 53 

A Masque of Conservation .... 69 

The Masque of Pomona 103 

A Masque of Christmas 117 

The Sun Goddess. {A Masque of Old Japan) 149 

Masque Costumes 171 

Masque Music 177 



THE REVIVAL OF THE MASQUE 



THE REVIVAL OF THE MASQUE 

" Shake off your heavy trance 
And leap into a dance 
Such as no mortals use to tread, 
Fit only for Apollo 
To play to, for the moon to lead, 
And all the stars to follow." 

This lyric from The Dance of the Stars might be 
used as a motto to express the nation-wide delight and 
steadily increasing interest in community drama that is 
felt from one end of our country to the other — a drama 
of the people, by the people, for the people, that is re- 
lated to and yet apart from the art of the theatre in 
that commercialism does not dictate its rise and prog- 
ress. 

All over the country, in cities and villages, in manu- 
facturing centers and college towns the urge of com- 
munity drama is felt. It fills our parks with folk- 
dancing and festival, our colleges and settlements with 
plays, indoors and out; and our cities with glowing 
pageantry. Robin Hood and a breath of Sherwood 
challenges the grayness of the slum: on village green 
the lure and grace of Colonial days is made to live 
again. Fairies are out beneath the moon — the matter- 

3 



4 THE REVIVAL OF THE MASQUE 

of-fact is for the time being blown away by the en- 
chanted winds of fancy. People are no longer content 
to be audience: they must be participants also. For, 
above all, community drama seeks to give full outlet 
to individual as well as community expression, co- 
ordinating the arts of acting, dancing, pantomime, 
designing, singing. Such co-ordination is the particular 
province of the Masque, the lyrical form of drama 
" occupying a middle place between a pageant and a 
play." 

Medieval Masques were used to entertain sovereigns, 
to celebrate weddings, or to welcome heroes. To-day 
the Masque is used as a means of civic influence, or 
of social, political, or artistic enlightenment. It runs 
the gamut from mysticism to humanitarianism, from 
fantasy to sober truth. 

Four cities stand out as leaders of the modern 
Masque movement in this country. These cities 
are San Francisco, Chicago, St. Louis, and New 
York. 

The Masques of the Bohemian Club of San Fran- 
cisco, given in the Redwood Grove, and the Masques 
of the Chicago Art Institute are already justly cele- 
brated. The former are outdoor Masques: the latter 
indoor. In both cases they have been Masques of 
poetic vision and fantasy. 

For Masques on a great scale, using thousands of 
people where the Bohemian Club and the Chicago Art 
Institute only used hundreds, there have been two 
Masques of wonderful beauty and significance, the 



THE REVIVAL OF THE MASQUE 5 

Masque of St. Louis, and the Shakespearian Tercen- 
tenary Masque in New York City. Both these 
Masques were civic Masques on a huge scale. Both 
employed every art of the community, acting, singing, 
dancing, pantomime, costume and scene designing, and 
superb stage management. 

In these various Masque productions some are ornate 
and expensive; while others that are as simple and 
direct as The Masque of Quetzal's Bowl, given by the 
Art Institute of Chicago at an inconsiderable outlay, 
and yet with fine effect. 

Born of the desire for community drama that 
glowed in the buoyant times of Queen Elizabeth the 
Masque flourished in her day. The word, originally 
of Arab origin, came into the English language through 
the French in the early part of the sixteenth century, 
and in accordance with the usual English fashion of 
treating French words was spelled Mask or Masque. 
The French spelling, Masque, came into use about the 
end of the century, and it was to this spelling that 
rare Ben Jonson, greatest of all Masque writers, ad- 
hered. 

The Masque was (and is) largely allegorical. As 
the pageant deals mostly with actualities, the Masque 
deals with symbols, with the realm of allegory, romance, 
and faery. 

In olden times the most salient characteristic of the 
Masque was the dance. To this even acting and 
music were, for the time, subordinate. This dance- 
enhancement was the direct result of the love of dancing 



6 THE REVIVAL OF THE MASQUE 

that was as widespread then as now. From the earli- 
est periods a dance in masquerade was one of the fa- 
vorite amusements of the European courts. Apart 
from its chief characteristic — that of dancing — the 
Masque, chameleon-like, reflected in its small compass 
the most popular dramatic forms of its day. It was 
heroic, comic, fanciful or prophetic, according to the 
mood of the times. It mirrored the topics that were 
uppermost in people's minds, whether social or politi- 
cal. In the early stages of its growth it was full of 
the naive seriousness of the morality plays with defi- 
nitely labeled figures such as Riches, Poverty, Envy, 
Love. But people wanted something gayer than the 
morality plays, something in which they themselves 
could participate, and as a result of this wish we have 
one of the earliest forms of community drama — medie- 
val Masques, in which dances were of two kinds : stately 
measures performed by the professional Masquers; and 
the revels — merry, high-spirited dances including le- 
vantos, galliards, and courantos in which both actors 
and audience took part! Kings and Queens felt the 
spell of participation. One of the first examples of the 
Masque in France was in the reign of Henry Third. 
This was the Ballet Comique de la Royne (named after 
Queen Louise of Lorraine who took part in it). This 
Masque was written for the marriage of the Queen's 
sister with the Due de Joyeuse, in 1581. The plot was 
woven from the story of Circe and her enchantments, 
and the principal dancers were the Queen and her 
ladies. That the costumes and settings were of the 



THE REVIVAL OF THE MASQUE 7 

utmost magnificence goes almost without saying; for 
in those days vast sums were willingly expended to 
bring the Masque to perfection. This was true of both 
France and England. In Nichol's Progresses of James 
First is noted that the sum of six thousand pounds was 
the average cost of the production of a court Masque. 
Inigo Jones, the artist who worked with Ben Jonson 
devising " neat artifices " for the stage setting of 
Masques, was the Rheinhart of his day — a master in 
his superb sense of color and effective grouping. Won- 
derful lighting effects — pillars against the evening sky, 
golden shells that opened to display slumbering elves, 
enchanted grottos, the walls of battlements — nothing 
was too difficult for his ardent (and successful!) ex- 
perimenting. Thus the Masque brought forward the 
first great scenic artist, and the first actual attempt at 
scenery. In the play audiences were still content to 
behold a placard reading: " This is a Wood ": but in 
the Masque they demanded to see the wood itself. Spe- 
cial attention was given to costuming, perhaps because 
for the first time women participated equally with men 
in drama where formerly men played all the parts. 
The Masque brought the actress to the stage and with 
her an enlivened sense of dress. Juno in pale blue, 
with a border of peacock feathers painted on her 
robe, the eyes of the feathers set in jewels — what fine 
lady would not play the goddess under such induce- 
ments ? 

The first English Masque was Cynthia s Revels 
by Ben Jonson, produced in 1600. Then came Samuel 



8 THE REVIVAL OF THE MASQUE 

Davie's Vision of the Twelve Goddesses, produced at 
Hampton Court, January 8, 1604. After that ap- 
peared what was from the literary point of view one 
of the most beautiful Masques ever written — Jonson's 
Masque of the Wedding of Lord Viscount Hadding- 
ton. Other famous Masques were Francis Beaumont's 
Masque of the Inner Temple and Grays Inn, The 
Masque of Flowers (Anonymous), and Jonson's 
Masque of Queens. 

From 1604 to 1640 the Masque reigned supreme, 
then, for no discoverable reason, faded from the Eng- 
lish stage, and was seen no more until the enthusiasm 
of our own day revived it — but with certain differences. 
The dance is now but a part of the Masque, the 
Masque-story or Masque-message the chief end in view. 
And this story or message may be conveyed by the 
most ornate or the very simplest means. Here again 
is a change. No Masque could be devised in the old 
days without extravagant expenditure, while at the 
present time, the Masque shows the direct influence of 
the new staging which lays stress on the essentials of 
line and color, and which desires to obtain the great- 
est effect of simplicity and beauty for the least outlay. 
A natural greensward may be the scene of an outdoor 
Masque, or draped curtains may form the background 
of an indoor Masque. To suggest is as much as to 
portray. Pageantry is of necessity more or less expen- 
sive: while a simple Masque can be within the reach 
of every one. Colleges, clubs, church guilds, settle- 
ments, cities, and villages large or small — all can par- 



THE REVIVAL OF THE MASQUE 9 

ticipate. For the keynote of community drama is 
participation. And in contradistinction to medieval 
Masques that required marvelous scenery and ornate 
costumes, modern Masques may be as magnificent or as 
simple as requirements dictate. 



THE FOREST PRINCESS 

(A Masque) 



CHARACTERS 

The King 
The Queen 
The Forest Princess 
Prince Aladore 
Prince Ulric 
First Lady-in-Waiting 
Second Lady-in-Waiting 
First Lord of the Court 
Second Lord of the Court 
Dame Mora 
Little Ynol 
A Traveler 
A Herald 
First Maiden 
Second Maiden: 
The Spirit of the Pine 
The Spirit of the Chestnut Tree 
The Spirit of the Silver Birch 
The Spirit of the Elm 
The Spirit of the Larch 
The Spirit of the Ailanthus 
The Spirit of the Willow 
The Spirit of the Ash 
The Spirit of the Aspen 
The Spirit of the Evergreen 
The Spirit of the Maple 
The Spirit of the Poplar 
Swamp Oak, a v T itch. 
Peasants, shepherds, vine-dressers, lords, ladies, pages, 
harpers, peasant musicians. Other Tree Spirits. 



THE FOREST PRINCESS 
ACT I 

The scene of Act I is that used throughout the whole 
Masque. A cleared space in a glade with trees, right, 
left, and background suggesting deeper woods. 

In the center of the stage a white marble seat with 
soft discolorings of brown and green where rain and 
moss have set their markings. The seat is long and 
shallow, with a curved back. Just behind it rises a 
square white column topped with a lamp-like bowl in 
which incense may be burned. This is a forest shrine, 
and like the marble seat, it also is of marble, and 
weather-stained. 

Down stage, toward right, the trunk of a fallen tree. 
It is cloaked with vines and moss. 

A trumpet-call, sweet and silver-shrill, blows in the 
distance, and announces the beginning of the Masque. 

Enter from right Dame Mora, a sweet-faced peasant 
woman, and her small son Ynol, a blithe child who 
walks with dancing steps. 

Ynol 
( eagerly ) 
What shall we see? 

13 



a* 



i 4 THE FOREST PRINCESS 

Dame Mora 

The court, in cloth of gold, 
And humble folk like us. From byre and fold 
The shepherds come. The vinedressers, leaf-crowned, 
And pretty pages ; herd-boys who are browned 
With summer sun ; and maids who milk the kine, 
Damsels with garlands, lords and ladies fine. 

[Ynol looks off excitedly, and then turns to his 
mother for more. 
All these, my Ynol. And when runes are said 
The Spirits of the Trees, engarlanded, 
May come from out the forest depths. I pray 
That we may see them here upon this day. 

[Dame Mora speaks gravely, with a touch of 
reverence in her voice; but Ynol is all eager- 
ness. 

Ynol 

I pray so, too ! 

[He looks toward one of the trees. 
I would that I might see 
The Spirit that doth dwell in yonder tree. 

[He takes a step or two toward the tree and 
then comes back to his mother. 
And shall I see the dances? 

Dame Mora 

That you will. 
Be a good child, my Ynol. Sit you still. 



THE FOREST PRINCESS 15 

Ynol 

{Sings, before he throws himself on the grass beside his 

mother) 

Gentle neighbor called the grass 
Very lightly will I pass. 
Sweet companion, called a flower, 
I will rest me here an hour! 

[Another full-drawn note is blown on the 
trumpets. A Herald appears in background 
and comes forward as the Traveler enters 
from left. 

The Traveler 

What festival is this the trumpets blow? 
I am a traveler and I fain would know 
What revelry is here. 

The Herald 

Highest and least 
Our good King bids to a great christening feast. 
And strangers also are most welcome, sir. 

The Traveler 

I would that I might stay. Unless I err 
It is some rosy lordling that ye christen? 

Ynol 
{piping up) 
Nay, sir, a Princess ! 



16 THE FOREST PRINCESS 

Dame Mora 
(reproving) 
Child, be still and listen 
When older folk are speaking. Mind your tongue. 

[To the Traveler. 
Your pardon, sir. 

The Traveler 

Good dame, the lad is young. 
That's pardon in itself. [ To Herald] And so you say 
A Princess will be christened here to-day? 

The Herald 
(with pride) 
Aye, sir, a Princess who is fairy born. 

The Traveler 
(amazed) 
How say you ? 

The Herald 

Sir, upon a certain morn 
Within this forest, Spirits of the Trees, 
(Whose voices you may hear in every breeze 
That blows through ash and thorn) 
Summoned the court. We came. And dazzling bright 
Upon that altar blazed a faery light. 

The Traveler 
(more and more amazed) 
A faery light ? 



THE FOREST PRINCESS 17 

The Herald 
Aye, sir, that altar shone 
With magic splendor. And when it was gone 
And we could see with our be-dazzled eyes, 
There on the altar a small Princess lies, 
A faery child. 

The Traveler 
And has she faery power? 

The Herald 

Nay, she became a human child the hour 

That our good King and Queen proclaimed that she 

Should Princess of their forest kingdom be. 

The Traveler 
'Tis passing strange ! 

The Herald 

Therefore the Queen and King 
Have bidden to this fair babe's christening 
The Spirits of the Trees, that they may bless 
With magic talismans this sweet Princess, 
So that no evil thing may hold in thrall 
Our Forest Princess, as we love to call 
This wondrous child ; for we are forest folk 
Forest encompassed, bounden to no yoke, 
And loving freedom. 



18 THE FOREST PRINCESS 

The Traveler 

Would I might remain 
To see such revelry, but I am fain 
To reach an inn by sunset. 

The Herald 

Then good speed, 
Sir Traveler, and store of fortune's mead ! 

[The Traveler bows and exits, right. Ynol, 
feeling less restraint, springs up and dances 
gaily, 

Ynol 
(singing) 

Blithe companion breeze, 

Roving where you please, 

I should like to find 

Where the long roads wind. 
[From the background in colors dully gorgeous 
as a missal book the court appears, a pied 
procession of orcnge, deep blue, and purple. 
First come two heralds. Then the King and 
Queen. Then a lady of the court bearing 
the Princess in a golden cradle from which 
trail rich stuffs, purple and cloth of gold. 
Two young bards, each with a harp, come 
next, and after them other lords and ladies 
of the court. The King and Queen seat 
themselves center, the lady with the Princess 



THE FOREST PRINCESS 19 

standing beside them. All through the pro- 
cessional entrance of the court music plays. 
As soon as the King and Queen are seated, from 
left come a group of peasants, shepherds, and 
vine-dressers. With them comes a rustic 
musician with his lute. One by one the 
peasant groups, in warm earth colors, brown, 
plum, lichen gray, come forward with their 
offerings. The shepherds bring sheepskins 
of snowy whiteness. The vine-dressers bear 
great wooden bowls of richly-colored fruits, 
wound with vine leaves, which they offer. 
The peasants come forward with some flow- 
ers, and scarlet cloth woven by their own 
hands. The King and Queen thank them 
graciously in pantomime. The pages hold 
the presents after they are presented. The 
music that has played faintly all through this 
scene ceases, and the King rises and speaks. 

The King 

Subjects be welcomed. 
We give you hearty greeting. Glad are we 
To have you join with us in revelry. 
Pages, strew garlands ! Bards, let music wake ! 
Dancers, a measure tread for joy's own sake! 

[The pages toss some rose leaves on the grass. 
The bards and the peasant musician begin to 
play a jocund air with a peasant swing. 
There follow three dances, one by the peas- 



20 THE FOREST PRINCESS 

ants, one by the shepherds and shepherdesses, 
and one by the vine-dressers, all in gay 
festival spirit. At the end of the dance they 
form groups at right and left. The space 
in the center of the stage is left clear. The 
King and Queen rise. The cradle, with the 
Princess, is placed on the seat, folds of pur- 
ple and gold falling about it. The King 
and Queen stand at left. 

The King 

(including both court and peasants in his speech of 

welcome) 
We bid you welcome to this christening feast. 
We celebrate a rite that hath not ceased 
Since first our walls were builded. [Indicates cradle] 

Here ye see 
The small excuse for all our revelry, 
Our newly christened Princess. On glad feet 
The hours have danced since dawn. Yet incomplete 
Are all our revels till there have appeared 
The Spirits of the Trees to us endeared 
By many a magic gift and benison. 

[To Herald 
Speak, herald. Hath my will in this been done? 
Has the behest I gave you been fulfilled? 

The Herald 

(falling on one knee) 
Sire, I have bidden the Spirits as you willed, 



THE FOREST PRINCESS 21 

By vale and hill, East, West, and South and North 
Through all the wood I sent your message forth. 
There is no spot to which I did not go 
Save to the swamp, where only foul things grow. 

The King 

Well done, my herald. Maidens, light the fire 

Upon the altar. {Maidens obey) Like a thin blue spire 

Let incense rise. ( To musicians) And sweet as pipes 

of Pan 
Let music summon forth the Friends of Man — 
The Spirits of the Trees, who lend us shade — 
The Spirits of the Trees who grant us fire — 
The Spirits of the Trees, who bring us rain. 
They are the steadfast guardians of the birds, 
Of timid thrush and raptured Philomel: 
Their arms stretch out to hold the robin's nest. 
Who wantonly destroys these Friends of Man, 
Marring their beauty for the sake of gain, 
Stripping the hills to fill his gaping purse, 
He should be branded felon. (To the musicians) To 

the tune 
Of wild, sweet notes be said the summoning rune ! 

[Music plays. Maidens at shrine speak the in- 
vocation. The incense ascends, and the 
Maidens wave above it staves decked with 
leaves and flowers. 

First Maiden 
Oak and Maple, Larch and Pine, 



22 THE FOREST PRINCESS 

Poplar, with your leaves a-shine, 
Sweet Ailanthus, Tree of Heaven, 
Locust Tree, to whom is given 
Blooms that lure the honey-bee — 
Tree Spirits, we summon ye. 

Second Maiden 

Chestnut, with your candled spires, 
Ash, with berries red as fires 
Gleaming through the Autumn mist, 
Beech, and Elm, and Aspen, list! 
Willow, Birch, and Alder Tree, 
Friends of Man, we summon ye! 

First Maiden 

By the hush of dawns and eves, 

By the laughter of the leaves, 

By the rapture of the rain, 

By Spring's touch, half-joy, half-pain. 

By all forest mystery 

Tree Spirits, we summon ye! 

[The Tree Spirits, in robes of forest green, 
begin to appear. All their movements are 
light and magical. Their hair is unbound, 
and floats, dryad-like, about their shoulders. 
Each one has some symbol that distinguishes 
her from the others. The Spirit of the 
Willow has a robe like long green ribbons: 
The Spirit of the Larch is brave in tassels: 



THE FOREST PRINCESS 23 

The Spirit of the Pine has crown and girdle 
of cones: the Ash has a girdle and necklace of 
scarlet berries, etc., etc. They dance out of 
the wood, and around the shrine, and one 
or another pauses in fleet salutation before 
the King and Queen. The music ceases. 
The Spirits of the Trees stand at right and 
left of the shrine, in a zvide semicircle. 

The King 
Spirits, we bid you welcome, one and all. 
Through these deep woods we bade our herald call 
Larch, Willow, Maple, all whom we could name, 
And now we thank you that you hither came 
Unto this christening. For this truth we hold 
That faery favor is more prized than gold. 

The Spirit of the Pine 
(approaching cradle) 

True to our ancient custom now we bring 
Our gifts to this small daughter of a King. 
I am the Spirit of the fragrant Pine, 
Gift of long life to you, sweet babe, is mine. 

[The Spirit of the Pine withdraws. 

The Spirit of the Larch 

(stepping forward) 

And I, the tasseled Larch bring talents rare: 
No voice shall with your golden voice compare. 



24 THE FOREST PRINCESS 

Your step shall be as light as thistledown, 

Your twinkling feet like stars beneath your gown. 

[The Spirit of the Larch withdraws. 

The Spirit of the Evergreen 

(approaching cradle) 

I, Spirit of the Evergreen to you 
Give constancy, a heart forever true. 

[The Spirit of the Evergreen withdraws. 

The Spirit of the Ailanthus 
(approaching cradle) 

Ailanthus, I, oft-called The Tree of Heaven. 
This branch I leave, this gift to you be given. 
That through your eyes your soul shall shine as white 
As the pure glow of altars, all a-light. 

[The Spirit of the Ailanthus withdraws. 

The Spirit of the Elm 

(approaching cradle) 

And I, The Spirit of the Elm bestow 
Wisdom. In all fair knowledge live and grow. 

[The Spirit of the Elm withdraws. 

The Spirit of the Maple 

I am the Spirit of the Maple Tree. 

My gift is beauty. The Princess shall be 

As radiant and as lovely as the moon. 

[While the Spirit of the Maple speaks a 



THE FOREST PRINCESS 25 

gnarled, dark-robed figure has approached in 
background. It is Swamp Oak, malign and 
twisted. 

Swamp Oak 
{with jeering laughter) 
A Moon Princess! 

The King 

{startled) 
What's this? 

Swamp Oak 
{coming forward) 

A witch's rune ! 
[Consternation. 
My name is Swamp Oak, and a witch am I. 
You asked the Spirits, but you passed me by. 
I come unbidden. 

The Queen 

( hastily ) 
But we would have sent 
Had we but known 

Swamp Oak 

Think you I will relent, 
Or that your lame excuses serve with me ? 



26 THE FOREST PRINCESS 

No, I will have revenge. The child shall be 
Moon-witched ! Moon-ruled — ■ — ! 

[ The Queen stretches out her arms imploringly. 

Lady, you plead in vain! 
The Princess with the moon shall wax and wane, 
Young in the moon's full glow, but when 'tis spent, 
A withered creature, haggard, wrinkled, bent. 

[With staff upraised over cradle. 
Be young when the moon's bright, and then be old 
When the moon fades, and like the moon, a-cold ! 

The Spirit of the Silver Birch 
(impetuously) 
Have you done, witch? 

Swamp Oak 
(glowering) 

Nay, Spirit. +' 

The Spirit of the Silver Birch 

Pause and hear 
The gift I bring. If a Prince shall appear 
And woo the Princess spite of your decree: 
Then shall your evil-witch spell ended be. 
And at the Prince's kiss your power shall break, 
The Princess be released for true love's sake ! 

Swamp Oak 
Your manners, Silver Birch, are most abrupt. 
It is not always wise to interrupt 



THE FOREST PRINCESS 27 

A witch when she is speaking. Now my spell 
Has triple power! 



The Queen 

{imploring) 

Mercy ! 

Swamp Oak 

I do foretell 



A darker gift. 



The Queen 
Pity! 

Swamp Oak 

No words shall stay 
My ^purpose, nor the strength of it allay. 

[She looks about at the anxious court with evil 
satisfaction. 

The King 
Keep us not in suspense. Make your words clear. 

Swamp Oak 

Look to your Princess. You have need to fear. 
Unless a Prince shall kiss her while she's old 
The subtle portent of my charm shall hold. 
And who will love her when her beauty's fled ? 



28 THE FOREST PRINCESS 

The Queen 

{anguished) 

Oh, Spirit of the Tree of Heaven, you said 
Her soul should be a white and shining light- 



Swamp Oak 
But who shall guess that through my portent's blight? 
'Tis not the soul that's loved. 'Tis the soul's mask. 

[Again the Queen mutely petitions. 
Plead not with me. 'Tis all in vain you ask. 

The Spirit of the Willow 

But there are some who deeply see, and true. 
One such shall all your hateful work undo. 
Therefore I bid you hope, and as my gift I give 
Faith : that your burdened hearts may lift and live 
To see a happy ending to this day. 

[Those present lift their heads with a touch 
of hope in their aspect. This Swamp Oak 
sees. Again she stands above cradle. 

Swamp Oak 
Hail, Moon Princess that shall the moon obey! 
Alternate young and old, I hold you thrall! 

The Spirit of the Pine 
The christening ends. Spirits, the deep woods call! 

[Exeunt to music that is triste, the Tree Spirits 



THE FOREST PRINCESS 29 

to right and the Court to left, all joyousness 
departed. Swamp Oak crosses to right, 
down stage, and stands there, staff upraised, 
watching the others exit. When they have 
disappeared, exit Swamp Oak. 



ACT II 

The same. Eighteen years later. Enter from left 
the Princess, slender, beautiful, followed by her attend- 
ant, whose hair is lightly touched with gray. Behind 
her the lords and ladies of the court. The Princess 
is by turns gay, and sad: whimsical and sparkling, as 
changeable as the moon. The lords and ladies stay 
in background, at shrine. The Princess comes down to 
the fallen tree trunk in foreground. With her her at- 
tendant lady-in-waiting. The Princess wears a bunch 
of roses fastened against the rich brocade of her gown* 
She carries a sweeping fan of peacock feathers, 

Lady-in-Waiting 
Sweet Princess, be not pensive. 

The Forest Princess 

Did I sigh? 

Lady-in-Waiting 

Lady, to-night the moon shines round and high, 
A silver glory, flooding wood and dell. 
And you, dear Princess, by its magic spell 
Are radiant, too, and young. 

30 



THE FOREST PRINCESS 31 

The Forest Princess 

{half bitterly) 

Aye, of a truth, 
I too can claim the alchemy of youth 
For a brief space. I count like miser's gold 
Each fleeting moment. Look! This rose I hold, 
If it doth fade, is it not still a rose? 

Lady-in -Waiting 
A truth, Madame, that e'en a small child knows! 

The Forest Princess 

Oh, children see the world with other eyes 
Than we, who have grown blind, and stupid-wise. 

[Crushes rose in her hand. Then opens her 
hand again. 
Beneath these bruised leaves the rose's heart 
Lies all unchanged. Yet, who shall have the art 
To guess at it? 'Tis a strange world, parde! 

Lady-in-Waiting 

Princess, as I do love you faithfully, 
I pray you banish all such thoughts as these. 
What said the sweet, fair Spirits of the Trees? 
Have you forgot their ancient prophecy? 
The witch's power shall some day ended be. 
The spell that binds you to an end be brought 
Through one who by his heart alone is taught. 



32 THE FOREST PRINCESS 

The Forest Princess 
Through one who by his heart alone is taught. . . • 
Oh, goodwife, tell me, is there such a one 
To be found anywhere beneath the sun ? 
No. No. I spoke in jest. See, I am gay! 
Come, shall we have a dance or roundelay ? 

(sings) 

Wind-blown locks of youth. 

Or gray and withered tresses: 
Princes come and princes go. 
But not one guesses! 
But not one guesses! (With an attempt at gaiety) 
All such thoughts beshrew ! 

( To Lords and Ladies) 
Weave me a dance, with quaint steps, strange and new ! 

[They begin a dance, courtly and full of grace. 
The Princess watches them from her place 
at right. 
My heart and I will watch, while not one guesses! 

[As the dance is going on enter from the right 
Prince JJlric, and from the left Prince Ala- 
dor e. Prince JJlric is handsomely garbed: 
Prince Aladore wears a tattered cloak. In 
his tattered cap is fastened an eagle's feather. 
They approach the Princess as the dance 
ends. 

Prince Ulric 
Lady, I seek my hawk, that's slipped her jesses. 



THE FOREST PRINCESS 33 

The Forest Princess 
(shielding her face with her fan) 
No hawk is here. 

Prince Aladore 

And I — I come to find 
A Princess fair, whose name, blown on the wind 
Makes sweet the very air. 

The Forest Princess 
(sweeping down her fan) 

Those who hunt, find. 

Prince Ulric 
Fair lady, do not thus in riddles speak. 
I, too, would find the Princess. 

The Forest Princess 

You must seek 
If you would find her. 

Prince Aladore 

Ah, her very name 
Swings in my heart as doth an oriflamme 
Before the eyes of some rapt worshiper. 
For I have crossed the world in search of her, 
And shall die happy, having seen her face. 



34 THE FOREST PRINCESS 

The Forest Princess 
Her name? 

Prince Aladore 
The Forest Princess. Of your grace 
Tell me where I may watch her passing by. 

[Princess is visibly agitated, yet controls herself. 

Prince Ulric 

(insolently) 

Nay, peasant lad, you cannot hope to try 
For you are meanly dressed and meanly born. 
The fair Princess would laugh your rags to scorn. 

Prince Aladore 

Oh, all I ask is that she let me serve 
Her truly, always. I would never swerve 
From deathless fealty. 

Prince Ulric 

Is the Princess fair? 
What is the color of her eyes ? Her hair — 
Is it of golden or ebon hue? 

Prince Aladore 
(Softly: his dreaming eyes on the Princess) 
Dreaming, I wished that she might look like — you. 



THE FOREST PRINCESS 35 

Prince Ulric 

Sweet lady, will you stand such insolence 
From one who hath not even enough pence 
To buy him a whole cloak! Tell me, I pray, 
Where I may go to seek without delay 
This fabled Princess. 

The Forest Princess 

Softly, gentle sir. 

You may not go to her 

Till questions have been asked and answered. 

As swift as may be shall the task be sped. 

[Turns to the court. 

Lordings and ladies, draw you near, 

There is a matter shall appear 

Whereof I am the judge. These pilgrims seek 

The Forest Princess. Therefore shall each one speak 

And tell us whence and where and why he came. 

His lineage, his country, and his name. 

Ere they be listed suitors for her hand. 

[Princess seats herself on marble seat, center, 
with the lords and ladies, grouped on each 
side of her. Prince Aladore at left, Prince 
Ulric at right. 
Proceed. (To Ulric) You first, sir. 

Prince Ulric 

Lady fair, my land 
Is Algavain. A Prince of wind and wave 



36 THE FOREST PRINCESS 

Am I, named Ulric, and surnamed " The Brave." 

Castles I own, crowned with a hundred towers, 

And foam-swept gardens full of strange bright flowers. 

The Forest Princess 

(Sweetly bending her eyes on Aladore) 

And you? 

[General consternation and protest. 

A Lord 
Sweet lady! 

Prince Ulric 

Madam! 

Lady-in-Waiting 

E'en in jest 
You must not ! Think ! A beggar ! 

A Lord 

He is dressed 
In rags! 

The Forest Princess 
(still sweetly) 
I see. 

And shall we measure, then, our courtesy 
By what folks wear? 



Let be. 



THE FOREST PRINCESS 37 

Lady-in-Waiting 
(in protest) 
Sweet madam ! 

A F.ORD 
(in protest) 

Lady fair ! 

The Forest Princess 
(with command) 

[Looks at Aladore. 



Prince Aladore 

A pilgrim from the land of Far-a-way 
Am I. 

The Forest Princess 
And have you tower-crowned castles? 

Prince Aladore 

Yea. 
Some in my land, and many a one in Spain, 
And galleons that sail upon the main. 

The Forest Princess 
What are their cargoes? 



38 THE FOREST PRINCESS 

Prince Aladore 

Hopes, desires, and dreams 
From all the hearts of all the world. 

The Forest Princess 

Meseems 
That is strange merchandise 

Lady-in-Waiting 

Sweet madam Ah, be wise 

In time. Dismiss this beggar. 

A Lord 

Yea, 
Have naught to do with him. 

The Forest Princess 

Why, till this day 
The lists were free 

A Lord 
But onlj Princes came 

Lady-in-Waiting 
And now this beggar without crown or name 

The Forest Princess 
Peace, gentle lordings. He shall be dismissed. 
His name shall not be written on the list 
Unless he answers questions I shall ask 



THE FOREST PRINCESS 39 

With the right answer. That is a fair task. 
Do you agree, my lords? 

Lords 

We do agree. 



And you 



? 



The Forest Princess 
(to Prince Ulric) 

Prince Ulric 
I also. 

The Forest Princess 

(to Aladore) 

And you? 

Prince Aladore 

Joyfully. 



The Forest Princess 
(her eyes on his) 
What is it hates the day and dreads the morrow? 

Prince Aladore 
Lady, a hidden sorrow. 

The Forest Princess 
And what is stronger than a witch's art? 



40 THE FOREST PRINCESS 

Prince Aladore 
Lady, a steadfast heart. 

The Forest Princess 
(wonderingly) 

Where learned you this ? A man in a tattered guise 
Draws nearer to the heart of things, is wise 
Beyond the jingling wisdom of the fools, 
Or what the bearded sages teach in schools. 

A Lord 

But, lady, did he guess 
The Answer rightly? 

The Forest Princess 

Of a surety, yes. 

Write down : A pilgrim strange from Far-a-way 

As suitor. Then depart. 

[Princess rises. Lords and ladies move to back- 
ground, and finally exeunt. The Lady-in- 
Waiting lingers, watching the Princess, 

Prince Ulric 

I pray you stay. 
Most gracious judge, one moment. Do not go, 
For I would more about the Princess know. 
Is there no portrait traced on ivory's white 
No painted likeness for our eyes' delight? 



THE FOREST PRINCESS 41 

The Forest Princess 

{proudly) 

By an unpainted likeness judge and see. 
I am the Princess ! 

Prince Aladore 
{with a caught breath) 

Ah! 
[He gazes at her, his soul in his eyes. 

Prince Ulric 
{with flamboyant worship) 

Divinity ! 
Now can I speak my heart as I am fain ! 

[He falls on one knee, worshipfully. 

The Forest Princess 
You shall speak only when the moon doth wane. 

Prince Ulric 
That's days away! 

The Forest Princess 
{half whimsical, half sad) 

Will not love last that long ? 
Or is it but a fragrance and a song, 
A weft of moonshine? {Seriously) At this place and 

hour 
Meet me again. Till then — to each — a flower. 

[She gives them each a rose. 



42 THE FOREST PRINCESS 

The love that's pledged me when the moon is dark 
Is all the love that I may have. 

Lady-in-Waiting 
(from background) 

Sweet 



The Forest Princess 

Hark! 
My ladies call me. Keep your trysting well, 
And I shall meet you without fail. Farewell. 

[Exeunt Princess and Court. Prince Aladore 
gazes after her. 

Prince Ulric 

I'll seek a lodging at a manor hall. 

[Exit Prince Ulric, left, up stage. 

Prince Aladore 
(as Prince Ulric goes) 
Inn o' the Stars is ever free for all ! 

[Spreads his cloak on the ground. 
So here I'll rest me. Sooth, the air blows sweet. 

[Seats himself on his cloak, takes out wallet. 
Opens it, and brings forth a crust. 

And a crust spread with hunger is good meat! 

And dreams be wine enough! 

[Swamp Oak has stealthily approached from 
right. She pauses behind him her staff up- 
raised. 



THE FOREST PRINCESS 43 

Swamp Oak 

Sleep deep! 

Prince Aladore 

(drowsily) 

I'll rest 
And dream of her who long hath been my quest. 
So fair the vision is . . . 

Swamp Oak 

Sleep deep! 



Prince Aladore 



So true 



Swamp Oak 

See but the visions I shall call for you ! 

[He sleeps profoundly. 

Moon wane! Moon bane! 

All that he dreams be in vain, be in vain! 

Let a magic sleep o'er his eyelids creep 

Till his senses lie in confusion deep 

His true love tryst he shall never keep. 

Deep, sleep deep in this lonely wold, 

For my witch's spell doth hold, doth hold! 

[For an instant she triumphs over him: then 
withdraws into woods, right. He lies sleep- 
ing where he has fallen. 



ACT III 

The same. Days later. Prince Aladore still sleeps. 
To soft woodland notes the Tree Spirits enter, and 
weave a dance in background. Gradually they come 
towards the foreground, and The Spirit of the Pine 
perceives Prince Aladore and calls to the other 
Spirits. 

The Spirit of the Pine 

Look where a mortal lies here, fast asleep ! 

The Spirit of the Maple 

About him withered leaves are drifted deep ! 

[They draw near, poised for flight if he should 
stir. 

The Spirit of the Willow 
Across his eyes a spider's web is spun. 

The Spirit of the Elm 

These leaves are Swamp Oak's! Now, by wind and 

sun, 
Some mischief is a-brew ! 

The Spirit of the Pine 

Look well! Look well! 
What if the Witch fears he might break her spell ? 

44 



THE FOREST PRINCESS 45 

The Spirit of the Larch 
Spirits, draw nearer. What if he should be 
Predestined to set the Princess free? 

The Spirit of the Evergreen 
Shall we not aid him, then, for her sweet sake? 

The Spirit of the Ash 
Mortal ! He does not stir ! Awake ! Awake ! 

The Spirit of the Pine 
Ah, 'tis a sleep no mortal power can break. 

The Spirit of the Elm 

But we can break it. Soft ! Bend low ! Bend low ! 
Stoop down and touch his eyelids ere we go 
With sprigs of spikenard and rose and rue, 
And herbs that by the light of starshine grew ! 

[She bends over him, softly touching his eyelids. 
Lilyroot and Golderibell, 
By your juices break this spell ! 
Let these the power of Swamp Oak's curse allay! 

The Spirit of the AspeX 
{trembling} 
He wakes ! He stirs ! Spirits, away ! Away ! 

[The Spirits draw away a little. 



46 THE FOREST PRINCESS 

The Spirit of the Maple 
Oh, foolish Aspen! What is there to fear? 
And we might be of service. Come, draw near. 

[Prince Aladore slowly wakens, sits up, looks 
about him wonderingly. 

Prince Aladore 
{dreamily) 

Methought I was asleep and dreamed of her. 

Then through the woods I heard a sweet wind stir 

That called my name. 

And like a pale green flame 

The forest danced and glimmered in my sight. 

[Brushes his hands across his eyes bewilderedly. 
'Twas but a dream. And yet, it is not night. 
And who are these? 

The Spirit of the Poplar 

We be 

The Spirits of the Trees. 

Prince Aladore 

An it you please 

Tell me, who am so sore bewildered 

How long a time has sped 

Since I first rested here? 

Oh, I am stabbed with fear 

That pierces, dagger-sharp. If I have missed 

Through this strange slumber, my dear hope — my tryst ! 



THE FOREST PRINCESS 47 

The Spirit of the Poplar 
Courage, good mortal. Truly, since you slept 
No lover's tryst hath in this wood been kept. 
That I know well. 

The Spirit of the Evergreen 

It was an evil spell 
That lulled your rest. 

Prince Aladore 

Then I am still in time? 

The Spirit of the Elm 
To-night the moon is dark. The blue-bell's chime 
Hath just struck three. 

Prince Aladore 

Alas ! A long, long hour 
Ere she shall come. An hour! Infinity! 

The Spirit of the Maple 
We shall do all that lies within our power 
To make it speed full blithe and merrily, 
Sweet — Prince. 

Prince Aladore 
You call me Prince? How did you know? 



48 THE FOREST PRINCESS 

The Spirit of the Maple 
(lightly) 
How does the wind guess when 'tis time to blow? 

The Spirit of the Pine 

So long he's slept, all dabbled in the dew, 
Hungry he must be. 

The Spirit of the Aspen 
(timidly) 
Yea, and thirsty, too. 

The Spirit of the Pine 

Spirits, be swift to serve him. Bring 

Wild cherries. Plums. 

And water from the spring! 

[The Spirits dance away to right and left on 
their several errands, and soon emerge from 
the woods again. The Spirits of the Maple, 
and the Willow, and the Pine remain with 
him. 

The Spirit of the Maple 
(presenting a cup of leaves) 
Maple leaf cup! 

The Spirit of the Willow 
(giving him a piece of willow bark, rudely shaped) 
A plate of willow ware ! 



THE FOREST PRINCESS 49 

The Spirit of the Pine 
(presenting berries in a grass basket) 
Some sparkle-berries ! 

The Spirit of the Evergreen 

Wine of vintage rare 

Made from the purple mulberry. 

[ The Spirit of the Evergreen and of the Maple 
pour water and wine for him into his maple 
cup. Their vessels are pitcher plants. 

The Spirit of the Silver Birch 
Honey ! The golden gift of the wild bee ! 

The Spirit of the Poplar 

Now for his raiment — Spirit of the Pine, 

Lend me your needles! (Stoops) Gossamer, so fine 

Your thread is that I'll borrow it! 

[Takes Prince Aladore's girdle and wallet and 
sews with charming industry. 

The Spirit of the Larch 
(fixing his cap) 
My longest tassel on your cap shall fit. 

The Spirit of the Ash-- 
(throwing necklace of berries about his neck) 
These rubies of the forest for your wear! 



50 THE FOREST PRINCESS 

The Spirit of the Silver Birch 
(aside to the Spirit of the Pine) 
Could we but warn him ! 

The Spirit of the Pine 

Silver Birch, beware! 
Tamper not with black magic, lest there be 
More ruth in store and deeper misery. 

The Spirit of the Maple 

Spirits, a stranger comes! We may not stay! 

[Prince Ulric appears at left, down stage. The 
Tree Spirits dance from the scene, towards 
right background, and exeunt. As they go, 
enter from left, up stage, a gray, bent figure, 
with gray hair showing faintly beneath her 
hooded cloak. The hood hides her face. 
She leans heavily upon a staff, and walks 
with difficulty. 

Prince Aladore 

What poor old tottering woman wends this way? 

[He goes to her. 
How faint! How spent she is. (Calls to Ulric) Oh, 

Prince, be swift! 
Kindle a fire of those dead leaves that drift 
Across our pathway while I warm her hands. 

[Aladore comes down center, the old woman 
leaning on him, as he chafes her hands. 



THE FOREST PRINCESS 51 

Prince Ulric 
(haughtily) 

Think you I'll mind a peasant lad's commands? 
Tend if you will on age and helplessness; 
But as for me — I seek the proud Princess. 

[He exits, left, up stage. 

Prince Aladore 

(looking after him) 

The proud Princess . . . ! He speeds upon the quest 

While I (Looks down on his burden) How 

breathlessly she seems to rest! 
So piteous and weak, so worn and old. 
Alack ! Her lips and hands grow still more cold ! 
Fainter and fainter grows her pulse 'gainst mine. 
Would that my lips might lend some warmth to thine, 
Poor withered dame . . . ! (He kisses her.) 

[The Forest Princess stirs in his arms, her cloak 
falls back and she slowly raises her head, 
beautiful and young. 

The Forest Princess 

Your kiss hath broken the spell ! 
It was your coming that they did foretell! 
Yours! 

Prince Aladore 
But, sweet Princess, only rags I wear! 
You cannot love a beggar ! 



52 THE FOREST PRINCESS 

The Forest Princess 
Yea, I swear 
Through this disguise your princely soul I see 
That in my utmost need didst stoop to me. 

Prince Aladore 

(rapturously) 

Now for such love as this may heaven be blessed ! 
Dear heart, I am a Prince. I spoke in jest. 
Sun, wind, and rain have wrought me this disguise. 
Far to the south my waiting kingdom lies. 
And will you go with me, so far, so far ? 

The Forest Princess 

Oh, I will follow to the furthest star! 

You, who are of my soul the deepest part. 

I have no country but your steadfast heart. 

[As the Prince kissed the Princess The Spirit 
of the Tree of Heaven stole in, swiftly 
summoned the other Tree Spirits, and sent 
some of them flying to summon the Court. 
With the Princess's last words they enter. 
The Tree Spirits dance joyfully about 
them, then all exeunt to strains of music. 
Swamp Oak appears for an instant down 
stage, right. Then with gestures of dis- 
may and fear she vanishes. The stage is 
left empty and the Masque ends. 



THE GIFT OF TIME 

(A Christmas Masque) 



CHARACTERS 



Time 

The Past 

The Present 

The Future 

The Hours 

Father Christmas 

Mortal 

The Old Year 

January 

February 

March 

April 

May 

June 

July 

August 

September 

October 

November 

December 

The New Year 



THE GIFT OF TIME 

Place: The Palace of Time. 

Time: An unmeasured space of time between the 
ending of Christmas and the coming of the New Year. 

The background and sides of the stage are hung with 
dark-green curtains, the green that is the color of holly 
leaves or pine. When these are parted for an entrance 
or exit deep-blue curtains flecked with silver stars are 
visible — as if Time's palace gave on the midnight sky. 

In center background a throne-chair draped in dark 
green. Behind it, with its branches touching the chair, 
a pine tree, like the ash tree Ygdrasil, whose roots go 
down to the center of the earth. 

At the rise of the curtain Time is seated on his 
throne. He wears a white beard, and traditional 
white locks, a gold crown, a white, flowing robe, purple 
mantle. Resting on one arm of his throne-chair is an 
hour-glass. 

At left, on a dais, sit the Past, the Present, the 
Future. The dais is dark green, with two steps lead- 
ing up to it. It is topped with a low green seat. On 
this sits the Present, clad in gold, with unveiled face. 
She looks frankly before her. At her right, facing 
background, sits the Past, in gray robes, her face half 
hidden. It is turned away from the audience. The 
Future, in rosy robes, covered with gray — the gray of 

55 



56 THE GIFT OF TIME 

the mists that hide the future, and the rosiness of the 
hopes it contains. Her face is covered with a veil, and 
it is turned toward the audience. The veil is very 
delicate, so that her features are almost seen, but not 
quite. They look like figures from a Grecian frieze, 
the three fates who control the world. 

Father Time lifts and reverses his hour-glass. In- 
stantly from right come the Hours, the hours of day in 
sunlit yellow, the hours of night in deep blue, with 
touches of purple, and glints of silver stars. All kneel, 
addressing Time. 

The Hours 

Time, we obey thy glass, 
We fleet-foot hours who pass 
As swift as thought ! 
Our greeting here is brought 1 

[The Daylight Hours stand at each side of 

Time's throne, while their leader, with 

obeisance, addresses him. 

A Daylight Hour 

We are the hours of sun, 

And shod with gold we run 

Our pathway bright. 

[The Night Hours divide into two groups, 
standing at each side of Time's throne, and 
their leader approaches him with obeisance, 
and says: 



THE GIFT OF TIME 57 

A Starry Hour 

The star-hours we, 

Mystic, and free. 

We wear the constellations for a crown of light. 

[Time raises his hand. Hidden music sounds. 

A Starry Hour 
(rapturously) 
To music of the spheres ! 
Thus dance we through the years! 

[They whirl into a dance, the stars on their 
robes glinting as they move. They beckon 
the Daylight Hours, and all weave together 
a measure of delight. As dance ends a chime 
of bells rings off stage. For a moment the 
Hours stand poised for flight, and then they 
exeunt, weavingly , a Daylight Hour and a 
Night Hour parting the curtains so that the 
other hours may pass through. 

Just as the last Hour vanishes Father Christmas 
enters from right background. He wears a 
medieval dress, a deep-crimson robe with 
pointed sleeves, red pointed shoes, and a 
crown of holly on his hair. His deep-crim- 
son robe is edged with white fur. The 
sleeves are also edged with it. He has a 
white beard, rather short, and white locks, 
shorter than those of Time. In his hand he 
carries a white staff, wound with evergreen. 



58 THE GIFT OF TIME 

Time 

Hail, Father Christmas, with thy robe as red 
As holly berries. Hath thy day been sped 
With mirth and cheer? 

Father Christmas 

I went from door to door, 
And everywhere mankind cried " More ! " " Give 

more! " 
'Till I was fain to turn on them and say: 
" Ye make my feast a common market-day! " 

Time 
(musing) 

Mortals, I know are foolish: e'en the best. 
Could we but teach one he might teach the rest. 
Their eyes are greed-blind and they cannot see 
All that is hung on the world's Christmas tree. 

Father Christmas 
Yea, and they cry, " Give to us equally." 

Time 
Not seeing my one great equal gift to all. 

Father Christmas 

(indignantly) 

Why, they do clutch my robe — would hold me thrall 
As if I were a jester or a mime 



THE GIFT OF TIME 59 

A Voice Without 



Open! 



[There is a tremendous knocking without. 

Time 
Who clamors at the gates of Time? 

Father Christmas 

(Parting the curtains and looking out right) 
A youth who all day long hath followed me 
With talk of Christmas inequality. 
And endless questions. He hath lost his way 
Amongst the fleet-foot hours. 

Time 

Then bid him stay, 
Here where time is unmeasured. He may learn 
Somewhat and teach his fellow-men in turn. 

[Time raises his hourglass and at its silent 
signal The Old Year enters from right. 
Old Year, a mortal clamors. Bid him in. 

[Exit the Old Year right. He quickly re- 
enters followed by a Young Mortal with 
the aspect of a blithe Greek god. The Mor- 
tal looks about him with interest. 

Mortal 
'Tis to a palace that I entrance win! 

Time 
My palace. 



60 THE GIFT OF TIME 

Mortal 
{unabashed) 
Lord, who art thou? 

Time 

I am Time. 
[Mortal turns and sees Father Christmas. 

Mortal 
And thou, by holly and by sparkling rime, 
Art Father Christmas! 

Father Christmas 
Yea. 

Mortal 
(to Present) 

And thou? 

Time 

Behold 
The Past, the veiled Future, and in gold, 
The shining Present. 

Mortal 
(to the Old Year) 

Thou who standest here 
With melancholy eyes 



THE GIFT OF TIME 61 

The Old Year 

I am the Year 
Who soon must pass to join the company 
Of former years. 

Time 

Mortal, a word with thee: 
I hear thy world is rife with discontent, 
And all the merry Christmas season spent 
In sighing over inequality 
Of gifts and giving. I would show to thee 
Much unto which thy greed-bound eyes are blind. 
Look well and hearken. Then go tell mankind 
What thou hast fathomed. Christmastide should bring 
Joy. And to give should be a joyful thing. 
But to be ever looking for return — 
It is as if ye lifted up an urn 
Filled with the leaves of roses, and then found 
Not roses, but a slimy serpent wound 
In coil on coil. 

Mortal 

But inequality 
Of Christmas — Is it just that some have less 
And others more ? 

Time 

Mortal, through joy and stress, 
Sunshine and shadow, on the Christmas tree 



62 THE GIFT OF TIME 

Of all the world one gift hangs equally 
For rich and poor. . . . 

Mortal 
{puzzled) 
One gift? 

Time 

Yea, and it wears 
A thousand lovely colors, and it bears 
Supernal beauty: yet before no shrine 
Are laid thank-offerings for this gift of mine 
That power can never break, nor money buy — 
A gift that is accepted heedlessly, 
Yet is more precious than the wealth of Ind, 
And given equally to all mankind 
In equal portions. 

Mortal 
{still bewildered) 
And can it be spent? 

Time 

Yea, Mortal, but it never can be lent. 
Great joy it bringeth when invested well. 

Mortal 
I cannot guess thy riddle. 



THE GIFT OF TIME 63 

Time 

I will tell 
Thee plainer. On the world's great Christmas tree 
The Gift of Time is hung perpetually — 
A year. Twelve radiant months, and free to all : 
Potent : and filled with wonders great and small. 
Unpurchasable, beautiful, and free. 
Hearken a while and let them speak to ye, 
They whom ye watch with too accustomed eye. 
Old Year, unto the Months my summons cry. 

[Time raises his hour-glass. The Old Year 
blows a summons on a silver trumpet. 
Music plays softly off stage. The Months 
begin to appear from right, crossing stage, 
saluting Time, and then taking up their 
position in background. All wear sym- 
bolic robes of varying colors. 

January 

I, January, bring fresh hope to bless 

Mankind. The New Year bright with promises. 

February 

I, February, blue and gray days bring, 
And at farewell a promise of the Spring. 

March 

I am bird-bringing March. With jocund wind 
I pipe the first flowers up to meet mankind! 

[In pantomime plays a note or two on Pans 
pipes. 



64 THE GIFT OF TIME 

April 

And I am called April and I bring 
The immemorial scents and sounds of Spring; 
Pale, tender twilights, and the silver rain; 
A rapture half of joy and half of pain. 

May 
And I am May, the month of blossoming bough. 

June 
And I am June, the honey month, whose brow 
Is bound with roses, and whose days are sweet 
With all that thrush and lark and bee repeat. 

July 
And I, July, do harvest-promise bring. 

August 
Golden the August fields of garnering. 

September 
September, month of magic moons, am I. 

October 

And I, October, come with panoply 
Of purple and of scarlet and of gold. 

November 

November, sober clad am I. I hold 

Sway over hushed fields and wind-swept trees. 



THE GIFT OF TIME 65 

December 
Snowflakes as star-shaped as the Pleiades 
I bring, who am December. And I send 
The Old Year forth to join the years that wend 
Along the highway of the Past. I hold 
Fulfilled hopes : and faiths that have been sold : 
And broken promises: forsaken dreams: 
The piteous wrack of failure: and the gleams 
Of purpose held through all adversity. 
And since I am the last, at seeing me 
In all men's hearts there rings a questioning chime: 
" What hast thou done with the great Gift of Time? " 
Twelve radiant ministers to thee were sent: 
How hast thou used the bounty that they lent ? 
And lesser servitors — the days and hours, 
Who gladly lent their service to thy powers. 

Time 
(gravely , yet kindly) 
Ye talk of Christmas inequality, 
Yet hung upon the whole world's Christmas tree 
A gift mankind receives all heedlessly, 
And without thanks 

Mortal 

Forgive our twilight sight! 
We mortals need a vision blinding white 
As lightning's flash to know the potency 
Of common things. Thy great gift now I see 



66 THE GIFT OF TIME 

As for the first time. I will humbly tell 
This mystery to mankind. 

The Old Year 

Soon will my knell 
Ring. Ere it striketh let me see the face 
Of the strong youth who comes to fill my place. 

Time 

Future, thy task! 

[Future sounds a summoning note on a silver 
trumpet. The Old Year withdraws toward 
right, looking eagerly toward left, his robe 
half drawn across his face. The New Year, 
radiant and young, appears at left. 

The New Year 

I answer thy command! 
New life, new hope, new promise in my hand. 
A host of blithe to-morrows follow me, 
The months, that are man's servitors to be, 
August, supernal, follow in my train. 
I wait the chime that shall announce my reign. 

[He stands, waiting. The chime of midnight 
begins to strike. The Old Year covers his 
face, and exits, right, the months following, 
in a lovely group. As they exeunt, the New 
Year still stands with face uplifted. 



THE GIFT OF TIME 67 

Mortal 

Oh, Father Time, thanks that I am less blind 

To the great gift that thou hast given mankind ! 

[As Mortal speaks he stands facing audience, 
far forward, and the curtains that hide the 
stage are drawn together behind him as the 
chimes go on striking. At the note of 
twelve the curtains part, and show an empty 
stage. 

Lo ! They are gone ! Yet it was not a dream ! 

Before my eyes I saw the New Year gleam. 

And I have sworn Time's messenger to be. 

[Turns, faces audience with arms outstretched. 

Therefore, oh, fellow mortals, hark to me! 

Though Christmas gifts ye fashion great or small, 

Mark how ye take the greatest gift of all. 

And unto all who now are gathered here 

I wish blithe Yuletide and a well-spent year. 

Curtain 



A MASQUE OF CONSERVATION 



CHARACTERS 

Lyssa 

Armida 
Charis 
Zephyr 

A Dryad in Black 
A Dryad in Gray 
First Little Dryad 
Second Little Dryad 
Third Little Dryad 
Fourth Little Dryad 
Fifth Little Dryad 
Sixth Little Dryad 
The Goddess of the Forest 
First River God 
Second River God 
A Little River God 
The Raindrops 

Conservation, the New Goddess 
Freeman \ 
Husk V Mortals. 

Callus ) 
Other Dryads, Little Dryads, Little Raindrops, 
River Gods, Little River Gods. 



A MASQUE OF CONSERVATION 

Time: The present. 

Place: Any American woodland. 

Scene: A grassy sward, flanked by trees right, left, 
and background. 

In the center of the grassy stage background there 
is an altar rudely built of stone. It is very ancient and 
weatherworn. It is round, and stands about five feet 
high. It is approached with a few irregular stone 
steps leading up to it. In the center of the altar there 
is a parting of stone wide enough for any one to step 
through. This gap is hidden by feathery swinging 
vines. A vine-covered tree-trunk at left. 

Enter Lyssa from right, in green and brown dryad 
dress. 

Lyssa 

Armida ! Charis ! Come ! the bright 
Sunshine calls. Dance, thistle-light! 

[Armida and Charis run in from left. 
Dryads, sisters! Leave your trees. 
Come and frolic with the breeze 
That shall play us harmonies 
Sweet as Orpheus ever made ! 

[They etch weavingly the first part of a dance. 
The little dryads enter and join the taller 
7i 



72 A MASQUE OF CONSERVATION 

dryads* They also wear dryad robes, with 
hair unbound. 



Little Dryads 
May we dance, too, in this glade? 

Lyssa 

Yea! 

Stay! 

Charis 
Little dryads, ye shall learn 
How to weave and how to turn 
Through the mazes of our dance 
Fleet as any sunbeam's glance! 

[ They stand poised for dancing, thistle-light. 

Lyssa 

Dryads, all! Attend! Attend! 
By our woodland altar bend! 

[Other taller dryads come in from right and 
left, joining Lyssa at altar. 
Gentle Forest Goddess take 
An offering for joy's own sake! 
And we place here as our sheaves 
Twinkling green and silver leaves. 

[Lyssa places leaves on the altar, raising them 
first in worship. The other dryads kneel 
before the altar prayerfully. 
Great goddess, though it be a simple thing, 



A MASQUE OF CONSERVATION 73 

We pray you take an humble offering 

From all 

The trees both great and small. 

Charis 
(with renewed lightness) 
Now, Armida, let us go 
And weave a measure to and fro! 
Oh, so sweet ! 
Oh, so fleet! 
Hours were made for dancing feet! 

[They dance joyously. Zephyr enters, a lithe, 
boyish figure in pale gray. He pipes gaily 
on a flute, with Pan-like lightness. Sudden 
and sharp, cutting like a knife across his 
music, comes the sound of a buzz-saw. 
Armida pauses, startled. 

Armida 
Hark! What's that? Is it the breeze? 

Charis 

It is but the hum of bees ! 

[// sounds again. This time closer and unmis- 
takable. 

Lyssa 

No! // is the voice of death/ 

[The dryads are terrified, all save the little 
dryads, who look on with wonder. 



74 A MASQUE OF CONSERVATION 

Drawing near ! " Kill ! Kill ! " it saith. 
Soon great fangs will rend and tear 
All our beauty. 

Armida 
Will they spare 



None of us? 

Nay. Not one. 
Death is here. 
Our lives are done. 
Unless 



Unless- 



Lyssa 



Armida 
(breathlessly) 



Lyssa 

Haply it be decreed 

That this insatiate hunger, this foul greed 

That strips our uplands and our woodlands bare 

May not take all, but winnow here and there. 

Armida 

Ah, must we die? y 

[Again the angry buzz tears across the summer 
tranquillity. 



Charis 
That ravening thing will slake 



Its lust with trees. 



A MASQUE OF CONSERVATION 75 

Armida 
(cowering) 
Charis! 



Charis 

And it will make 



This place a desert. 



First Little Dryad 

(as saw sounds again) 

Angry bees! 
[Zephyr has been at right, looking off stage. 
He calls in warning. 

Zeyphr 

Dryads ! Back into your trees ! 
Man approaches. 

Armida 
Quick ! Away ! 

Lyssa 

Vanish all ! 

Charis 
We dare not stay ! 
[Zephyr and the dryads vanish from the scene. 
Enter, from right, three men. The first, 
Freeman, is a rangey, well-built young fel- 
low. He wears a dark linen shirt, open at 



76 A MASQUE OF CONSERVATION 

the neck. He has knickerbockers and 
leather boots, laced to the knee. Husk, who 
is fat and red-faced, wears a tan alpaca 
motor-coat. Callus is yellow-faced, dark, 
and thin. 

Freeman * 

This finishes our walk. With this last view 
We have seen all the ground. 

[They come down to fallen log, Husk mopping 
his brow with a handkerchief. 

Husk 

So! We can sign 
At leisure, after we have had our lunch. 
What stones are these ? 

Freeman 

An altar, Mr. Husk. 
That's stood here since time immemorial. 
Even before the Indians came folks say. 
'Tis called an altar to an unknown god. 

Husk 
Don't take much stock in these antiques myself. 
Suppose you do? v 

* Although these lines are written in verse they are to be 
spoken as the harshest prose, with the inflections of every- 
day speech. 



A MASQUE OF CONSERVATION 77 

Freeman 

Well, Mr. Husk, you see, 
My family had lived here many years. 
Six generations, root and branch. And I — 
I am the last. Often I used to play 
Under these spreading trees and sail my boats 
In all the little springs and pools that dot 
This woodland like gems set in moss. 

Husk 

You're wise 
To sell. Land's apt to lose in value. 
Eh, Callus ? When it takes a lot to live, 
You've got to get a lot! How's that for sense? 

[Freeman looks off, apparently not hearing him. 

Freeman 
My ancestors lived off the land. 

Husk 
(jocose) 

Well, Freeman, 
That shows you have a longer head than they. 
You take your pleasure as it comes. 

, Freeman 
(smiling) 

That's true. 
And now this land is 4 y° urs — or almost yours. 
We've only got to sign the papers. Then 



78 A MASQUE OF CONSERVATION 

Husk 
Those sentimental stones of yours will go 
To patch a new stone wall, or mend a road. 
Utility's my watchword every time. 
While as for trees 

Callus 
{drawling, as buzz-saw again sounds on the air) 

Freeman, within a week 
You'd never guess there'd been a woodland here. 

Voices of the Dryads 
(passing through the woodland like a moaning sigh) 
Have mercy ! Pity ! 

Freeman 
(startled) 
Did you hear that ? 

Husk 

What? 

Freeman 
Why, Husk ... I swear ... I thought I heard . . . 
a voice. 

Husk 
(with bills and gold in his hands counting) 
Fistfuls of green and gold talking through cloth. 



A MASQUE OF CONSERVATION 79 

Callus 
Money talks, Freeman. Eh? 

Husk 
{nudges Freeman gaily) 

It's too blamed hot 
To stand here talking in the sun. Come on. 
Sit down. 

[They move over to a shady spot on the grass. 
We have a whole half hour till lunch. 

[Calculating. 
Ten thousand feet of lumber and six saws. . . . 

Voices of the Dryads 
Alas! Alas! We are condemned to die! 

Freeman 

Some one is calling to us through the wood! 

[He starts up and leaves the others intent and 
listening. 

Husk 
Sun-struck, my friend. This heat is something fierce. 
[Charis steals out of the wood a little way, and 
reaches out her hands in supplication to 
Freeman. 

Lyssa 

Charis, beware! 



80 A MASQUE OF CONSERVATION 

Charis 

■> 

Nay, I will plead with him. 
Oh, mortal, do not make this blithesome wood 
A place of death and silence, blot us out 
Forever from the rapture of the sun. 
It took a hundred years of dawn and dew, 
Of rain and starlight and of quickening earth, 
To make this tapestry of living green. 
And you would rend it in a single day ! 
Oh, do not let us perish utterly ! 

[Indicating little dryads who peer timorously 
from wood. 

Let these, the youngest of us, stay to prove 
That once this glade was beautiful. 

Voices of the Dryads 
(a mournful murmur) 

Alas! 
[Charis withdraws. 

Freeman 
{gazing intently at the place where she stood) 

I thought I heard Did you see something move 

There, in the branches? 

Husk 
You have stood too long 
Out in the heat. Come on, man. Come to lunch. 



A MASQUE OF CONSERVATION 81 

Freeman 

(slowly) 

I'm not so sure I sha'n't come back again 

To find^out what it was that stirred and cried 

There in that thicket. I hate mystery. 

[Exeunt Freeman, Husk, and Callus, left. The 

dryads look out from their hiding-places. 

Then they slowly enter. 







Lyssa 




Charis, alas! 


It was in vain ! 








Armida 




• 




In 


vain! 






Lyssa 




They could not see us. 










Charis 








Nay, nor 


hear our cries. 



Lyssa 

'Twas all in vain ! 

[Lyssa sinks down in an attitude of despair. 
One of the little dryads who has been stand- 
ing near the fallen tree-trunk stoops and 
picks up a piece of gold. 

Charis 
We are condemned to die. 



82 A MASQUE OF CONSERVATION 

First Little Dryad 
(showing gold piece in her palm) 
Lyssa, what is this? 

Lyssa 
(monotonously throughout) 
'Tis money. 

First Little Dryad 
It is colored just like honey. 

Lyssa 
'Tis for things like this we're sold. 

Second Little Dryad 

If we plant it, would it grow? 
Lyssa, tell us? 

Lyssa 
No. No. 

Third Little Dryad 
Could it ever make a tree? 

Lyssa 
Never. 

Fourth Little Dryad 

What good can it be? 
Could it make a singing bird ? 



A MASQUE OF CONSERVATION 83 

Lyssa 

Nay. 

Fourth Little Dryad 

And it hath never stirred. 
Like a cold, dead thing it lies. 

Fifth Little Dryad 

Could it paint the butterflies? 

Or make the Spring come earlier? 

Sixth Little Dryad 

Or teach the sweet sap when to stir? 
Lyssa ? 

Lyssa 

Ah, must we be sold 
Just for chill, unblossoming gold? 
(with fervor) 
No! Upon the gods I call! 
Pray to the Forest Goddess, one and all. 
Hear now our cry, 
Great Goddess, 
And draw nigh. 

[The Dryads stand in supplicating attitudes. 

The Goddess of the Forest 

(her voice coming sweetly from background) 

Who is it calls me ? 

[The Goddess of the Forest enters from back- 
' ground. She is tall and stately and wears 



84 A MASQUE OF CONSERVATION 

a green robe, her flowing hair is bound with 
a green chaplet. She has an overrobe in 
which a hundred dull, soft colors mingle, 
the red of moss, the gray of lichen, the 
brown of pine needles, the faint green of 
new leaves, the deep green of the midsum- 
mer forest. 

Lyssa 

These, 

The Dryads from the trees, 

Condemned to die. 

Oh, thou who fillest the burgeoning land with joy, 

Whose smile is sunshine, and whose footsteps are 

Embossed with flowers wherever thou hast trod, 

Have mercy on us, counsel us and aid 

Against the greed and tyranny of man. 

It is not by the thousands that we pass 

Into the dust 

(For that were only just, 

Since man must have his shelter and his fire), 

But by the tens of millions we expire, 

And some of us for utter needlessness. 

Armida 
Oh, pity our distress! 

DryadS 
{murmuring) 
Alas ! Alas ! 



A MASQUE OF CONSERVATION 85 

The Goddess of the Forest 

But ye are not alone, 
Oh, dryads! From the forest's inmost heart, 
From the pied meadows and the silver streams 
A cry goes up against the greed of man 
Who wastes the living beauty of the earth 
As if he could, with one wave of his hand, 
Create another world. My nights, my days 
Reverberate with murmurs, tears, and cries 
Of the despoiled ones. Yet it is just, 
Oh, dryads, that I hear thy prayers alone, 
And not the others ? 

Charis 

Quickly, Zephyr, bring 
The River Gods! 

Zephyr 
Faster than whir of wing 



I flv! 



[Exit Zephyr. Dryads enter from right. 
Some wear dark-brown veils over their hair, 
and walk haltingly as if wounded. Others 
have arms that appear gashed — from their 
elbows hang flying strips: some arms seem to 
end at the elbow. Others are clad in the 
gray and black of ashes. All of them move 
silently and wraithlike. One of the dryads 
in black bows before the altar. 



86 A MASQUE OF CONSERVATION 

The Goddess of the Forest 
Who now draw nigh ? 

Charis 
These are my sisters who do cry to thee. 

The Goddess of the Forest 
{looking at the dryad in black) 
Who art thou ? 

Dryad in Black 
(with an effort to stand erect) 
Goddess, I was once a tree. 

The Goddess of the Forest 
And then? 

Dryad in Black 
And then, 
Through the ignorance of men, 
Wounded sore and left to die. 
Wasted, wasted utterly. 

The Goddess of the Forest 
And these? 

A Dryad in Gray 

(hollowly) 
The ghosts of trees — 
Dryads with their beauty marred, 



A MASQUE OF CONSERVATION 87 

Twisted, broken, ashen, scarred. 

We clamor to you, Goddess, for redress 

Against man's carelessness 

That lets a restless spark 

Fly wide into the dark, 

Like a small seed of death. 

Then in an instant's breath 

Red vines flower up a tree 

And blossom blazingly, 

And spread till all the woodlands are 

A blur of ash and char. 

Goddess, to thee we cry against such fate. 

Help, ere it be too late. 

[From background come the River Gods in 
varying shades of blue. Those from the 
mountain torrents wear blue that is almost 
green, flecked with the white of foam. The 
little River Gods wear pale blue. The 
taller River Gods wear dark gray-blue. 
One or two of them are bound with chains. 
They all bear a faint resemblance to Nep- 
tune. All move slowly and languidly. 

The Goddess of the Forest 
Gods of the River, ye who used to run 
Swift as blithe brooks a-glitter in the sun : 
Why come ye now so wearily and slow? 

First River God 
Because the springs of life in us are low. 



88 A MASQUE OF CONSERVATION 

Second River God 

We are the gods from snow-cold streams of mountains, 

From wayside rills and wells and pure, deep fountains. 

Not against man our cry: 

We are forsaken 

By the sweet silver children of the sky. 

Our strength from us is taken, 

Without their help and comfort we must die. 

[The Little Raindrops, tiny childish creatures, 
enter and stand looking at the Goddess of 
the Forest. They are clad in silver and 
gray. 

The Goddess of the Forest 
Speak, Silver Drops of Rain, why have ye left 
Our brothers of the River thus bereft? 

The Raindrops 

(speaking all together, patteringly) 

When forests die, 
From the sky 

We no longer fall. 
Brooks run dry, 
Fountains die, 

They perish, all ! 

Armida 
(passionately) 
Goddess, we pray! What help is there for these, 
The River Gods, the Dryads from the trees? 



A MASQUE OF CONSERVATION 89 

The Goddess of the Forest 

There is no help. I have no power to give 
Ye peace or succor, or to help ye live. 
Cry to some goddess who is yet unborn. 

[The Goddess of the Forest moves away from 
the altar with slow, sorrowful step. Deep 
dejection falls on all present. 



Lyssa 

(with despair) 
The old gods die, and we are left forlorn. 



Charis 
(with emotion) 

Oh, I have dreamed a goddess, fair as morn, 
Whose touch is Healing, and whose smile is Peace. 
Oft at the twilight hour, when comes surcease 
From humankind, it seems as if a breath 
Touched all the forest whispering, " Life ! " not 

"Death!" 
I dreamed her touch, filled with divine compassion. 
Oh, comrades, let us cry to her and fashion 
Our broken prayer 
Before this altar. 
Let us not despair. 



9 o A MASQUE OF CONSERVATION 

Omnes 

(in supplication) 

Oh, unknown Goddess, hear our cry to thee! 

Oh, unknown Goddess, wake. And set us free! 

[As if in answer to this forest litany, there rises 
slowly from the altar a beautiful, benign 
figure, who looks on them compassionately. 
It is Conservation. 

Ch-aris 
(awed) 
Goddess ! 

Conservation 
I answer ye ! 

Omnes 
(with a great breath of relief) 
Ah! . . . 

Conservation 

Quench your fears. 
[Comes down from the altar. 
Quickened this moment by your bitter tears 
And by your prayers, I stand. 

First River God 
And wilt thou free the land ? 



A MASQUE OF CONSERVATION 91 

Conservation 

Only by man can Greed be vanquished, 
And Ignorance to outer dark be sped. 
My name is writ in gold 
Upon this staff I hold. 

[A River God looks at staff, and speaks with 
salutation. 

River God 
Great Conservation, hail! New Goddess! 

Armida 

(gazing at her, torn between hope and fear) 

Oh, 
If she should free us ! 

Conservation 

Greed cannot be broken 
Till by man's self the magic word is spoken 
That sets ye free. 
But, Dryads, trust to me. 
And ye, oh, River Gods. 

v [Looking off left, finger on lip. 
Man comes again. 
(General movement of withdrawal) 

And he must learn to look on his domain 
With new eyes. I will tutor him. So all 
Withdraw and come again when I shall call. 

[The Dryads and River Gods slip away into 
the woods, right, left, and background, 



92 A MASQUE OF CONSERVATION 

where they can be dimly seen like figures 
in a tapestry. They stand awaiting the re- 
turn of Freeman. 
Freeman enters, starts to cross stage, and is met 
by Conservation, who comes slowly toward 
him. He suddenly sees her, stops, and their 
eyes meet. He is not quite sure whether 
she is a waking dream or a reality. 



Conservation 

Mortal, must there be left no trace to tell 
Of the old wood your fathers planted here? 

Freeman 
(brushing his hand across his eyes) 
Impossible! It must be that I dream! 



Conservation 

An ugly dream that bids you strip a wood 
And leave no hostages, no growing life. 
Young trees and old — you'd sweep them all away. 
Yet you could make a law that would enforce 
The safety of a forest: you could check 
The ravages of Greed : force Greed to take 
Only that which is needed — leave the rest, 
A promise of the guerdon of the earth 
For future years. 



A MASQUE OF CONSERVATION 93 

Freeman 

(staring at Conservation) 

A waking dream this is! 
But . . . you . . . are . . . real. . . . 

Conservation 

The forest wounds are real ! 
(Indicating Dryads and River Gods) 
Look where they cry you pity ! 
(With staff upraised, commanding magical powers) 

Let his eyes 
Behold true vision! Look! 

[The Dryads move, mutely stretching out their 
arms imploring pity. 

Freeman 
(amazed) 

Why, now I see 

Sorrowful faces! 

Arms outstretched to me. . . . 

[The Dryads-in-Green, who have petitioned him, 
move back and let the Dryads-in-Black with 
their appalling dress come clearly into view. 

Can these be trees? 



K 



Conservation 

These are the stricken ghosts 
Of trees that were. 



94 A MASQUE OF CONSERVATION 

Freeman 
{shuddering) 
These charred and broken hosts! 

Conservation 

Torn with iron teeth, or marred with careless fire, 

Then left on hill and valley to expire 

All needlessly: and with their dying bring 

The curse of drought to every hill and spring 

That laughed in their cool shade. 

The River Gods 

Whom Greed hath made 

His sullied servitors; bound with his chain; 

Or left, drought-racked, to die for lack of rain. 

Oh, hear the prayer of these, 

The brothers of the Trees! 

[At left and right, kneeling in supplicating 
groups, the River Gods are dimly seen. 

Freeman 
(To Conservation) 
It is for you, strange dream, to set them free. 

Conservation 

I have no power save what you give to me. 

This waste can end only at man's behest. 

Oh, speak the word that ends it ! Mortal, speak ! 



A MASQUE OF CONSERVATION 95 

Freeman 
How shall I know the word my tongue should say? 

[Enter Husk and Callus. 

Husk 
Freeman, we've hunted all about for you. 

Freeman 

Hush! (Looks at Dryads. Indicates) Don't you see 
them ? Look ? 

Husk 
(staring at the Dryads but not seeing them) 

See what? See where? 
(Looks about bewilderedly) 

Freeman 

There, where a Dryad reaches out her arms 
Imploring pity. 

Husk 
(not minding Freeman, and speaking to Callus) 

It's the little trees 
That you can't use that choke the work up most. 
I'll see that a clear sweep is made of them. 
We'll start on Monday morning. 

(Indicates Dryads) 



96 A MASQUE OF CONSERVATION 

Freeman 

(staying him) 

Can't you hear? 
Or can't you see? Man, use your eyes, and look J 

Husk 

(staring about obligingly) 

Not a blamed thing! (He looks at Conservation but 
does not see her) 

Conservation 

Greed's eyes are always blind, 
And his ears deaf. 

Freeman 
(to Husk, indicating Conservation, 

Can you not see her? Look! 

Husk 
Her ? Who ? You're going looney ! 

Freeman 

You can't see 
The reason why this wood should not be cut? 

Husk 
(staggered) 
Not cut ? What do you mean ? 



A MASQUE OF CONSERVATION 97 

Freeman 

{doggedly) 

I will not sell 
Unless you sign a contract that will bind 
Your workers, so that they will leave a third 
Of this wood standing. Name your price. 

Husk 

(gazing) 

A third. . . . 
Leave a third standing . . . ! He is going cracked! 

(firmly) 
I've got to close this deal. Train leaves at four 



Mr. Husk- 



Freeman 

Husk 
(shortly) 
Yes. 

Freeman 

Truth is, if you could see 
What I have seen 'twould make it easier 
Talking. . . . 

Husk 
(losing patience) 
If I could see . . . ! What-d'ye-mean see? 
(with growing anger) 
You bring me here and waste my time and then 



98 A MASQUE OF CONSERVATION 

Cook up a tale of sparing trees. Well, sir, 
I like your nerve! I'm damned if I will spare 

A single one. I 

[Callus touches his arm gently. Husk stops 
with a snort. Changes his tone. 

Now, look here, Freeman, 
If you want more it's easy to speak out 
Instead of stringing up a yarn like this. 

Freeman 

{evenly) 

Either the land is cleared as I have said, 
Or I won't sell. That is my answer. 

Husk 

Lord! 
To waste a day dealing with crazy folk ! 
Come, Callus. 

Callus 

(dryly) 

Had enough? 

Husk 
(shaking his fist at Freeman) 

You'll get a name 
For breaking bargain that will stink from here 
To the next township ! 

[Exeunt Husk and Callus, left. 



A MASQUE OF CONSERVATION 99 

Freeman 
(to himself) 

I don't think I care, 
As long as these are free ! 

[He looks at the Dryads and River Gods. 

Conservation 
(with deep delight) 

He speaks the word that gives me power ! Advance, 
Oh, trees! Oh, River Gods! 

[The Dryads and River Gods come forward, 
the stricken ones with lighter steps and more 
joy in their aspect. 

First River God 

My pulses dance 
With life renewed ! 

Charis 

Quick, Zephyr, bring 
Your jocund pipe, with notes as blithe as Spring! 

Conservation 
(to Freeman) 
Lo, salve of education on your eyes 
Will make you see the world in a new guise. 

[She touches his eyes lightly with the tips of her 
white fingers. 



\ 



ioo A MASQUE OF CONSERVATION 

And in your hand I pray you hold for me 
This staff of New Responsibility. 

(Conservation gives Freeman her staff) 



Freeman 
But it is heavy ! 

Conservation 

Yea, all great things are ! 
[Twilight is imminent. Long shadows steal 
across the grass. Homing birds begin their 
evening matins. 
The wind blows sweet ! And soon the evening star 
Will look down on the joy that you have made. 
Ah, if each sparkling spring and wooded glade 
Were ruled with wisdom, their true wealth would be 
This nation's greatest, deepest treasury. 
Oh, Mortal, go forth from this wood and teach 
Your fellow-men through word magic, that each 
May learn that beauty's worth is more than gold, 
For gold is only dross when beauty's sold 
Irrevocably. 

[Steps forward and addresses the Dryads, River 
Gods, and Little Raindrops. 

You whom Greed held thrall, 
Dryads, and River Gods, I bid you all 
Who make this world a wonder and delight, 
Be healed of your scars! Dance light! Dance light! 
[Zephyr blows a strain of music on his pipe. 
Those Dryads who wore charred and ghastly 



A MASQUE OF CONSERVATION 101 

raiment fling it off and show the vernal 
green dress that they wear at Conservation s 
touch. The Little Raindrops weave in and 
out amongst the River Gods, who now step 
swiftly and freely. The dance ebbs toward 
left, but some of the Dryads slip back to 
their trees at right and background. The 
River Gods slowly disappear left, with the 
Raindrops. Last of all Conservation pauses 
a moment, left, with arms upraised. The 
Goddess of the Forest steals away and 
vanishes, background. Still Conservation 
stands. Then with the last notes of 
Zephyr s pipe, she too is lost to view. The 
shades of twilight creep closer. 

Freeman 

(rousing himself as if from a spell, his voice still 

tranced with it) 

Did I but dream? 

(He looks about him. There is no motion in the 
glade, and no sound save the twitter of drowsy 
birds ) 

Twilight falls softly blue. 
(He steps toward the audience) 
If I have dreamed — 

(He looks at the audience and speaks directly to them) 

Oh, make the dream come true! 

The Masque Ends 



THE MASQUE OF POMONA 



CHARACTERS 

Pomona 

Vertumnus 

Camilla 

Maidens. Shepherds. Vine-dressers. Children. 



THE MASQUE OF POMONA 

A glade with trees right, left, and background. In 
the center background an altar of gray, weather-beaten 
stone. Ferns and vines show greenly through the 
chinks of stone: lichens nestle against it. At right, 
down stage, a white Roman bench. 

The Masque begins with the entrance of a group of 
maidens and children, carrying garlands in their hands. 
They walk in from right, make obeisance before the 
altar, and then stand in groups, one group at each side 
of the altar the while they sing. While they are 
singing the first verse of their hymn of praise, shep- 
herds enter, brown-clad figures, bearing white fleece 
as their offering. Following the shepherds come the 
growers of grapes and olives, with ceremonial goblets 
filled with oil and wine. Behind these follow yet 
others, the owners of orchards with their offerings. 

Chorus 
(omnes singing) 
Orchard Goddess, here we bring 
Snow-white wool as offering 
From Cyprus and lone. 
Pour we now the oil and wine, 
Purple splendor of the vine. 
Hail to thee, Pomona! 

105 



106 THE MASQUE OF POMONA 

Thou by sylvan gods held dear, 
Who art worshiped far and near, 
From Ostia to Dodona. 
Smile on vineyard and on field, 
And the fruit our orchards yield. 
Hear our prayer, Pomona. 

[The gifts* are, one by one, laid reverently on 
the altar. The maidens approach and lay 
their garlands on it. 

Thou who of love wilt have none, 

Yet who lookest kindly on 

Strephon and Corona. 

For the blessing of thy glance 

Weave we now a harvest dance, 

Oh, adored Pomona! 

[The maidens dance before the altar, strewing 
petals. Then the rustics dance a gay, un- 
couth measure. Then, with one of their 
number blowing on an oaten pipe, they 
march in a small procession from the field. 
Two onlookers have paused at shrine, a 
youth in a cloak half gray, half green, worn 

* These dances and offerings will naturally partake of the 
season of the year in which the masque is produced. 
There were two festivals to Pomona, one in the Spring 
and one in the Autumn, that given in the Spring being the 
simplest. If the Masque is given in the Spring there will 
be apple blossoms and peach blossoms instead of the fruits, 
and vine leaves but no grapes. If the Masque is given in 
the Autumn there will be Autumn fruits to glow upon the 
altar. 



THE MASQUE OF POMONA 107 

over a gray-green tunic, and an old woman 
in black and russet. They do not join the 
procession that is leaving the orchard. The 
old woman is Camilla, the youth Vertumnus. 

x 

Camilla 

(perceiving Vertumnus) 
Vertumnus! Guardian of the Turning Year! 
I give thee greeting! Lo! What dost thou here? 

Vertumnus 
(moodily) 
Naught. 

Camilla 
Worshiped God, why dost thou stand apart 
From all our joy? 

Vertumnus 

No joy is in my heart; 
For all the turning seasons do not bring 
Pomona's love, and that is the one thing 
I crave beyond all other. 

Camilla 

If winds fail 
A mariner, he doth but hoist more sail. 



108 THE MASQUE OF POMONA 

Vertumnus 

I thank thee, mortal, for thy good intent, 
And for the hope thy cheering words have lent 
My troubled spirit. 

Camilla 

Doth she tell thee why 
She will not love thee ? 

Vertumnus 

Cold as is the sky 
Ere the first flush of dawn — so cold is she, 
And swears that she will like Diana be 
And love no man, mortal or god. Alas! 

Camilla 

Fancies like these are ofttimes known to pass. 

Thou art a God, and I a mortal, old 

And short of sight. Yet once I was not cold 

When Spring came. And, Wood God, it yet may be 

That from my store of years I'll counsel ye 

With words that have the strength of garnered grain. 

Banish despair, and plead thy cause again. 

[Pomona appears in background. 

Vertumnus 
Hither she comes. 

[Camilla hobbles quickly to right, standing be- 
hind trees so that she is not observed. Po- 



THE MASQUE OF POMONA 109 

mona comes slowly to center, a radiant 

figure, blithe, exquisite. 

Pomona, lo! 'Tis I! 
Against thy cruel hardness do I cry! 
Kind to the orchards, yet unkind to me. 

Pomona 
The orchards give their worship silently. 

Vertumnus 
Cold as the sea-spray from which Venus rose, 
Listen. Across the land the sweet Spring * blows, 
But my heart, empty of thy golden love, 
Is desolate. 

Pomona 
Ye see the moon above, 
A silver sickle that doth reap each star 
At dawn's first warning. Vertumnus, as far 
From love am I as is the moon from earth. 

(She turns) 
Farewell. 

Vertumnus 
Thou leavest me to endless dearth. 
[Exit Pomona. Camilla steps forward from 
behind her screen of leafage* 

Camilla 
Vertumnus ! 

For an Autumn Masque this line may read: 
♦Listen. Across the land the Autumn blows. 



no THE MASQUE OF POMONA 

Vertumnus 
Ah, good mortal, art thou there? 

Camilla 

Mortals be very practised in despair 
Because their lives are filled with bitter tears. 

Vertumnus 
Thou sawest how it went? 

Camilla 

Cry down thy fears! 
Never so cold but some brave bird will sing. 
Wintry my locks, yet have I known the Spring. 
And from that memory I counsel thee. 
Be swift and take this ancient cloak from me. 
And flax and wool will whiten all thy head. 

Vertumnus 

What meanest thou? 

[Camilla takes flax and wool from altar, and 
places her cloak about the shoulders of Ver- 
tumnus. She lets white locks show under 
the hood of the cloak. 

Camilla 

Thy hands be wrinkled 
(She takes ashes from stone on altar and marks 
his hands) 



THE MASQUE OF POMONA in 

With ashen gray. Aye, and thy face as well! 

(Marks crow's feet at the corners of his eyes. 
Steps back to admire her handiwork) 
Vertumnus! Who could look at thee and tell 
Thou wast a God! So do time's ashes change 
All that was lovely into something strange. 

(Gives him her staff) 
Now shalt thou say unto Pomona this: 
" Oh, lovely Goddess, cold as Dian's kiss, 
May a poor, humble mortal speak with thee? 
One who has bowed herself perpetually 
Before thine altar and poured wine and oil, 
And worshiped thee with first-fruits of her toil. 
Adored and beautiful Pomona, lo ! 
I have seen all thy suitors come and go. 
Thou art more loved than was Penelope, 
Or radiant Helen stolen across the sea 
By Paris. Yet to all thou sayest ' Nay.' 
Dost thou not fear that Venus on some day 
Of bitter reckoning will drive thee hence?" 
And when she says: " But what is mine offense? " 
Say thou, "Alas! To punish every heart 
That knows not love hath Venus sworn. Depart 
From cruel ways or take thy punishment ! " 
And when Pomona's ear to thee is lent 
Tell her: Of many suitors there was one 
True beyond all the rest. Sure as the sun 
And stars, Vertumnus named. 

Vertumnus 

Oh, wondrous! 



ii2 THE MASQUE OF POMONA 

Camilla 

Say 
That he — alas! alas! — hath gone away. 
And then 

Vertumnus 
And then 

Camilla 

I need not tell to thee 
What Gods say, meeting opportunity. 

[Exit Camilla. Enter Pomona. She comes 
toward her altar, and stands by it. 

Vertumnus 

Goddess of orchards, fair Pomona, take 
A humble vineyard offering for my sake. 

Pomona 
Good mother, laden be thy apple trees 
With ruddy fruitage, for thy gift doth please. 

Vertumnus 
May a poor, humble woman speak with thee? 
One who has bowed herself perpetually 
Before thine altar and poured wine and oil 
And worshiped thee with first-fruits of her toil. 
Adored and beautiful Pomona, lo! 
I have seen all thy suitors come and go. 



THE MASQUE OF POMONA 113 

Thou are more loved than was Penelope 
Or radiant Helen stolen across the sea 
By Paris. Yet to all thou sayest, " Nay." 
Dost thou not fear that Venus on some day 
Of bitter reckoning will drive thee hence? 

Pomona 
What should I fear? For what is mine offense! 

Vertumnus 

Dost thou not know? To punish every heart 
That knows not love hath Venus sworn. Depart 
From cruel ways or take thy punishment. 

Pomona 
Good mother, thou dost startle me. 

Vertumnus 

Relent, 
And choose a lover. 

Pomona 
Ah, which one? Which one? 
He must be true. 

Vertumnus 
True as the shining sun 
And stars Vertumnus was. 

Pomona 

I scorn him. 



ii4 THE MASQUE OF POMONA 

Vertumnus 

Yea, 
Then all is well. For he hath gone away. 

Pomona 
Gone? Ah, what meanest thou? 

Vertumnus 

All that I said. 
In vain he gave thee love. In vain he plead. 
Comely he was, yet worshiped only thee, 
Where will ye find again such constancy? 

Pomona 

(faintly) 

Alas! I know not! Mortal, lend thine aid! 
(Leans on Vertumnus) 

Vertumnus 
Yea, Goddess. 

Pomona 
Ah, it seems as if this glade 
Grew black with loss of him. No more, no more 
To see him — ►— 

(Runs to altar, arms outstretched in supplication) 

Oh, great Venus, I implore 

I pray thy pity ! Send him back to me ! 
Cruel I was, yet meant not cruelty. 



THE MASQUE OF POMONA 115 

Because I did not know till he was gone 
How well I loved him, or what luster shone 
On life when he was with me ! 

Vertumnus 
(throwing off his black cloak) 
He is here! 

Pomona 
Vertumnus! Guardian of the Turning Year, 
Turn not away again, lest I shall end 
As Echo did! (Runs to altar) 

Venus, my thanks I send! 

Vertumnus 
Not Venus, but another counseled me. 

Pomona 
What dost thou mean? 

Vertumnus 

Pomona, wise are we, 
Yet wiser are the mortals, for they know 
How to contend with fate and conquer woe. 
He who gives over with the race half won 
Might have been victor, had he only run ! 

\From the background comes the procession 
bearing bowls of milk and bowls of figs. 
These they place on altar. They see Po- 



n6 THE MASQUE OF POMONA 

mona standing with V ertumnus' arm about 
her, and coming down, kneel before her. 
She extends her arms in blessing. One 
of the bolder of the maidens kisses the hem 
of her robe. Then, with oaten pipes play- 
ing, and maidens strewing flowers before 
them, Pomona and Vertumnus leave the 
stage, left. 

Chorus 

(singing as they go) 

Thou by sylvan gods held dear, 
Who art worshiped far and near, 
From Ostia to Dodona, 
Smile on vineyard and on field, 
And the fruit our orchard yield. 
Hear our prayer, Pomona! 

The Masque Ends 



A MASQUE OF CHRISTMAS 



CHARACTERS 

Gerda 
Preben 
Karen 
Erick 

Their Mother 
The Spirit of Giving 
The Spirit of Getting 
The Soul of Gluttony 
The Soul of Greed 
The Soul of Selfishness 
The Voice of the Bell 
Neighbors. Carol-singers. Children. 



A MASQUE OF CHRISTMAS 

Place: A little village in Denmark. 

Time: The Middle Ages. 

Scene I. A room in Erick's house. 

Scene II. At the Spirit of Getting 's. 

Scene III. At Erick's home, same as Scene I. 

SCENE I 

Before the curtain rises carol-singers are heard sing- 
ing in chorus. 

Over road and hill and town 

Snow lies white as fleece. 
'Tis the eve of Christmas. 

'Tis the time of Peace. 
Peace upon the forest, 

Peace upon the field. 
On this night, holy night, 

Joy shall be revealed. 

The curtain rises and gives to view an interior hung 
with brown drapery. When these draperies are parted 
by the players entering at center, an outer curtain of 
deep, midnight blue is seen. The center entrance is 
the only one used. 

119 



120 A MASQUE OF CHRISTMAS 

At right, background, there is a Christmas tree, 
decked with a few candles and simple gifts. Near 
this a low wooden stool which can be used as a seat 

At left a charcoal brazier, with a ruddy fire. Near 
it another low stool. The room is shadowy. The 
only light comes from the brazier, which makes the 
highest spot of color in the picture. 

On the stool near the tree sits Karen, a child of ten. 
Preben, a very little boy, sits near the brazier. Gerda, 
a girl of fourteen, stands near Karen, her face uplifted, 
listening. 

Karen 
Oh, Gerda 



Gerda 
Listen ! Hush ! 

The Carol-Singers 

In the stable rises 

Silv'ry breath of kine, 
On our trees and altars 

Christmas candles shine! 
From the steeples sweetly 

Christmas carols ring, 
Therefore, friends and neighbors, 

Give ye praise and sing : 
(Softly) 
Peace upon the forest, 

Peace upon the field — 
On this night, holy night, 

Joy shall be revealed! 



A MASQUE OF CHRISTMAS 121 

Gerda 
Hark! (All is still) They are gone! 
[Suddenly a voice, high and clear, intoning like 
a bell, swings across the silence of the dusk. 

The Voice of the Bell 

Listen well! 

Listen well! 

I cry to your souls through the voice of the bell, 

Clear, clear! 

Heed and hear! 

Give ! And the Spirit of Joy shall draw near ! 

Listen well! 

Listen well! 

I cry to your souls through the voice of the bell! 

Karen 
Gerda . . . what voice was that ? 

Gerda 

(rapt) 

I do not know. 
It sounded strange and clear and rapturous sweet 
As if it choired up to the very stars! 
I wish that it would sound again. But all 
Is quiet, and the streets are very still. 
'Tis as if Twilight stole on noiseless feet 
Past all the little doors and whispered: "Hush!" 



122 A MASQUE OF CHRISTMAS 

Preben 
And is the tree all trimmed, then, Gerda? 

Gerda 

Yes, 

All trimmed, dear Preben. And the gifts are hung 

For Mother and for us. 

And our good neighbors. They are simple gifts 

And yet they seem quite fine upon the tree. 

The wood that Hans hath carved. And gingerbread 

With gilding on it ! 

Karen 
Yes, and nuts and herbs, 
And basker.9 made of tree-bark. 

Gerda 

Strings of cones — 
Pine cones, as brown as Autumn. 

Preben 

And a toy — 
A little toy I painted all myself! 

Gerda 
(snatching him up and kissing him) 
Thou little rabbit ! Now for all who come 
We have a gift, e'en though the gift be small. 
How we have toiled the winking firelight knows ! 



A MASQUE OF CHRISTMAS 123 

Karen 
Because we had no pennies in our purse! 

Gerda 

Fingers were made before men thought of gold, 
And fingers can work wonders when they must! 
Besides, our neighbors know that we are poor, 
And they are poor themselves. They'll judge our gifts 
By all the love we've measured into them : 
Not by the gifts themselves. 

Preben 

I wish 'twere time 
To light the candles! 

Gerda 

Nay, ere night-time falls 
There are some gifts that we must take abroad — 
(Takes gifts from lower branches of tree) 
One for blind Marta- — one for crippled Hans — 
Who cannot come to share our Christmas tree. 

Karen 

( eagerly ) 
Oh, let us wait till Erick goes with us! 
For it is time that he should be at home! 

(Listens) 
That is his step! He's coming now! He's coming! 

\JLrick enters, a lad of twelve or so, with a 
bundle of fagots. 



124 A MASQUE OF CHRISTMAS 

Tis he! Tis Erick! (Runs to him) What hath 
kept thee, brother? 

Erick 

(thr owing down fagots) 
The drifts — the fagots — and a wondrous tale 
Lame Hans was telling me about a Spirit 
Who's called the Spirit of Christmas joy. 

Karen 

(eagerly) 



Oh, tell us! 



Yes! Yes! 

[They sit round Erick at brazier. 



Erick 
Ever at the Christmas season 
She roams the earth. If we could only find her — 

Gerda 
What is she like? 

Erick 
Oh, she is very lovely. 
" A crown of stars," Hans said, " a long white robe- 
A mantle such as the royal wear." 

Karen 

Oh, 

Can it be true? 



A MASQUE OF CHRISTMAS 125 

Erick 
All things are true at Christmas. 
This very night I shall start forth to find her — 
This very night I'll go to see the Spirit 
Of Christmas Joy. 

[As he has been talking, and unseen by him or 
the other children, a tall, cloaked, and 
hooded figure has entered. When she 
speaks her voice rings clear and sweet as a 
bell 

The Spirit of Giving 

Why fare so far, young Erick? 
Such Spirits are often nearer than you dream. 

Preben 
{half frightened) 
Gerda! {He clings to her) 

Gerda 
It is some wander woman, Erick. 
{Erick steps forward as host) 
Come in. We did not hear you when you entered. 

{They make way at fire) 
The night draws chill. Will you not stay and rest? 
[The Spirit of Giving stands at fire, warming 
her hands. 



126 A MASQUE OF CHRISTMAS 

The Spirit of Giving 

Your home is bright with welcome, and your tree 

Has branches like to beckoning fingers. 

Yea, e'en the fire burns like a ruddy heart. 

Here's rest and peace and warmth and kindliness. 

I have seen palaces not half so fair 

As this sweet room. (She crosses slowly to fire) 

Erick 
Who think you she may be ? 

Gerda 
I cannot tell. I do not know. Some stranger. 

Karen 

Her eyes are like our mother's eyes. They have 
Deep stars of love in them. 

Gerda 
(at tree) 

Our Christmas cakes 
Are done. Will you not have one ? 

The Spirit of Giving 

Later, child. 
I may not take ere I have given. (To Erick) And so 
To you, a Christmas rose. (Gives him a rose) 



A MASQUE OF CHRISTMAS 127 

Erick 
(delighted) 

To keep? 

The Spirit of Giving 
(her eyes on him) 

Or give, 
As pleases you. 

Erick 
I thank you from my heart. 

Preben 
{child-like) 
Oh, Erick, let me have it. 

Erick 
(selfishly) 

Preben, no. 
I'll keep it for myself. It shall be placed 
In water and I'll stand it near the tree. 

The Spirit of Giving 
(gravely) 
My roses do not fade. 

Karen 
(aside to Gerda) 

What can she mean, — 
Roses that do not fade? 



128 A MASQUE OF CHRISTMAS 

The Spirit of Giving 

And would you guess 
My name, and who I am ? Child, I am called 
The Spirit of Giving. Yet there be some 
Who know me by another title 

Erick 

Look ! 
[All turn and perceive the richly-robed Spirit 
of Getting, who has entered unannounced. 

Another guest! {He goes forward) I do not know 
your name. 

The Spirit of Getting 

{smiling on him winningly) 

Spirit of Getting am I called, and I 

Can fill your Christmas full of mirth and cheer. 

Erick 
{indicating the Spirit of Giving) 
Do you not know each other? 

The Spirit of Getting 
{haughtily) 

Nay, we are 
The bitterest of enemies. I'll bide 
Close by the fire. 

{She sweeps to fire, and warms her hands) 



A MASQUE OF CHRISTMAS 129 

Erick 
{fascinated) 

Be welcome. Stay and rest. 
(He stands near her) 

The Spirit of Getting 
I do not feel at home beneath this roof, 
Save when I look on thee. Draw near. Draw near. 

Erick 
(gazing at her) 
The jewels on thy robe — they shine like stars ! 

The Spirit of Getting 
Will you receive such gems at Christmas time? 

Erick 

Nay, we be poor, and I shall only have 

Poor gifts as guerdon from the Christmas tree. 

I would I might have more. 

The Spirit of Getting 
(nodding) 

'Tis well to wish ! 
[The other children have been talking with 
the Spirit of Giving in pantomime. Now 
they approach the Spirit of Getting. 



130 A MASQUE OF CHRISTMAS 

Gerda 
We come to crave your pardon 

Karen 

(interrupting) 

We must go 
For a few moments only— 

Gerda 

We must bring 
Gifts to lame Hans — and Marta who is blind — 
Or else they'll think that they have been forgot. 
Will you not wait, and we will soon return. 
Come, Erick, you must add your greeting, too. 

The Spirit of Getting 
(to Erick) 
What has blind Marta ever given you? 
And crippled Hans, has he made you a gift? 
Tell them you will not go. Stay here with me 
And I will make you see your Christmas Eve 
In a new guise. 

Erick 
But I 

The Spirit of Getting 

Why should you give ? 
'Tis better far to gain, believe me. Nay, 
Stay thou with me. Tell them thou wilt not go. 



A MASQUE OF CHRISTMAS 131 

Erick 

(to the other children) 

'Twould be discourteous in me to leave. 
I will not go. I'll stay here, — by the fire. 

Gerda 
But, Erick, when lame Hans doth love thee so 



Erick 
I will not go, I tell thee. Let me be. 

Gerda 

(sorrowfully) 
Come, Karen. 

[The children pick up their cloaks from beside 
the tree. 

The Spirit of Giving 

(to Gerda) 

Wilt thou let me go with thee, 
And I will take thy basket? 

[Exeunt Gerda, Preben, Karen, and The Spirit 
of Giving. 

Erick 

They are gone! 
And something like a cord pulls at my heart ! 

(For an instant he looks disturbed and irreso- 
lute, and then turns to the Spirit of Getting) 



132 A MASQUE OF CHRISTMAS 

Lame Hans was telling me a wondrous tale. 
That was his gift to me. 

The Spirit of Getting 
A sorry gift ! 

Erick 

And as he spoke I longed to find the Spirit 
Of Christmas Joy 

The Spirit of Getting 

Come with me. We will find her. 
For I am fain to have you near me, Erick. 

Erick 
(wonderingly) 
How did you find this house and learn my name? 

The Spirit of Getting 
You wished me here. 

Erick 
What mean you ? 

The Spirit of Getting 

Yea, you called me, 
And so I came. Dear Erick, follow me, 
And I will show you mirth and Christmas Joy. 



A MASQUE OF CHRISTMAS 133 

Follow, and you shall have a hundred gifts. 
Follow, and I will fill your purse with gold. 

[She moves towards the center exit, and Erich 

slowly follows her, putting his cloak and 

cap on. 

Erick 

Yea, I will follow for the sake of gifts. 

Yea, I will follow for the sake of gold. 

But most of all I'll follow thee because 

From thee I'll learn the way to Christmas Joy. 

[As he pauses at center exit the voice speak- 
ing as with the peal of a bell is heard once 
more. 

Listen well, 

Listen well! 

I cry to your soul through the voice of the bell ! 

Clear, clear! 

Heed and hear! 

Give ! And the Spirit of Joy will draw near. 

Listen well! 

Listen well! 

I cry to your souls through the voice of the bell ! 

[While the voice has been speaking Erick has 
followed The Spirit of Getting out the 
center exit, and the curtain slowly falls. 



SCENE II 

The home of the Spirit of Getting. 

When the curtain rises it is discovered that where 
the Christmas tree stood is now a long table with a 
yellow cloth on it edged with gold. On the table are 
huge dishes of fruit, jelly, tarts, cream-puffs, cakes, 
flagons of wine, goblets, gold and silver plates, candles 
in sconces, etc., etc. A brazier stands at left, but more 
toward background. When the curtains at the center 
exit are parted, vivid orange outer draperies are seen, 
and the figures who enter are silhouetted against it. 

The Soul of Gluttony, very plump and ruddy, and 
dressed in bright blue and yellow, sits drinking from 
a bowl that half-hides his face. After the rise of the 
curtain there is a knocking without. Gluttony has 
just taken a bite out of a cake. He puts it down re- 
luctantly. 

The Soul of Gluttony 

Plague take it! There was one more bite to eat, 
And I must leave it. 

{He rises, holds cake up and looks at it adoringly) 

Ah, thou merry one, 
Thou winkest at me with thy raisin eyes! 

(Takes a bite) 
The waggish cream-puff laughs until its sides 

134 



A MASQUE OF CHRISTMAS 135 

Crack and run over with sweet jollity! 

{Licks up a bit of cream off puff) 
How bland the custard looks! And how jocund 

The luscious fruit-cake 

(Impatient knocking without) 

Ah, I hear! I hear! 
(He starts for the exit, looks back, and returns to 
gaze and then to fondle, unable to leave his 
heart's desire) 
The bashful jelly trembles at my touch! 
The cherries woo me like a maiden's lip! 

(Furious knocking) 
I come ! I come ! 

(Again he pauses, waves to the things on table, 
kissing his fingers at them) 

Sweetings, farewell to thee, 
But for a moment. 

[He parts the curtains, and is seen to reach 
out as if pulling a latch. He is always in 
sight of audience. The stage is not vacant 
for an instant. 
Enter the Spirit of Getting, followed by 
Erick, who looks wonderingly about him 
while The Spirit of Getting chides The 
Soul of Gluttony. 

The Spirit of Getting 

Would you have me stand 
All night upon the threshold, Gluttony? 



136 A MASQUE OF CHRISTMAS 

I'll warrant you have stuffed your very ears 
With tarts and cream-puffs! 

The Soul of Gluttony 

Oh, those happy words ! 
They chime like music ! And my heart responds ! 
(He hurries back to table) 

The Spirit of Getting 

(scornfully) 

Your heart/ Your heart/ It scarce can beat for fat! 
You'll die of over-eating some fine day! 

The Soul of Gluttony 

(happily) 

And then I'll have a tombstone of white nougat 
And my name writ thereon in candied almonds! 

The Spirit of Getting 
Go to! (To Erick) Come in, and be thou welcome 

here! 
Is it not fair? 

Erick 

I do not see a tree — 
Not e'en a little tree with gifts on it. 

The Spirit of Getting 
This is the place of getting, not of giving. 
Gluttony, did you leave the door unlatched? 



A MASQUE OF CHRISTMAS 137 

The Soul of Gluttony 
(his mouth full) 
Yea. Yea. I did. It saveth breath and time. 

[The Soul of Greed enters, an old man with 
a gray beard; small, fierce eyes; bushy 
brows; and a sack on his back. The Spirit 
of Getting turns and sees him. 

The Spirit of Getting 
Ah, welcome, Soul of Greed. 

The Soul of Greed 
(in a cracked voice) 

The night is cold. 
And these, my sacks, be heavy. Let me sit 
By thee (crosses to table and joins Gluttony) 

And count up all the long day's gain! 

Erick 
(to The Spirit of Getting) 
I do not like his eyes. They frighten me. 

The Soul of Greed 
(taking out gold pieces and counting them on table) 

There is no season like the Christmas-tide 
For counting all your treasures, one by one. 



138 A MASQUE OF CHRISTMAS 

Ah, if these dates and pears were gold pieces, 
Then I'd be rich indeed! 

[The Soul of Selfishness enters. He is young 
and finely garbed. His arms are full of 
gifts which he does not offer to share. 

The Spirit of Getting 

Give you fair greeting, Soul of Selfishness. 
What kept ye late ? 

The Soul of Selfishness 

Sooth, I was gathering gifts. 
To celebrate the season. These are mine ! (Shows gifts) 
All mine! 

[They cross and take their places at table. 
Erick sits facing audience. His plate is 
soon heaped with dainties. But neither 
gifts nor gold are given him. 

The Soul of Greed 
(staring at Erick) 
Who's this? 

The Soul of Selfishness 

A follower of Getting's. 

The Soul of Greed 
Yet he looks mirthless. 



A MASQUE OF CHRISTMAS 139 

The Soul of Gluttony 
{seeking for the only panacea he knows) 
Try another sweetmeat ! 

The Spirit of Getting 
Yea, when 'tis Christmas Eve, eat, drink, be merry. 

Erick 
(speaking more to himself than to the others) 
I know not why it is — I am not happy. 
Though I have all I wish I am not happy. 
At home on Christmas Eve, we stand together 
About the tree, and sing — while here (gulps back a 
sob) while here 

The Spirit of Getting 

(ignoring Erick) 

Dear Soul of Selfishness, though you be late, 
At last we are all gathered here together. 

Erick 

(suddenly starting up) 

All? But where's the Spirit of Christmas Joy? 
You said she would be with us. Answer me! 
You said I'd find her. 

The Spirit of Getting 

No, I never said so. 



HO A MASQUE OF CHRISTMAS 

Erick 
(passionately) 

Yea, but you did. You said that you would help me 
To search the world for her. 

(Turns to Greed) 

Oh, Soul of Greed, 
Will you not help me ? Ah, I pray you, aid me ! 

The Soul of Greed 
I've never seen the face of Christmas Joy. 

Erick 
Oh, Soul of Gluttony, can you not tell me 
How I shall find her? 

The Soul of Gluttony 

Nay, I cannot tell thee. 
Her name sounds unfamiliar to my ears. 
Sweet Taste I know, and Spice and Seasoning, 
But Joy hath never been beneath this roof 
In all my memory. 

Erick 
(with a cry) 
I have been cheated! 

The Spirit of Getting 
Erick, believe me, there is no such being. 



A MASQUE OF CHRISTMAS 141 

Erick 

There is ! There is ! Deep in my heart I feel it ! 
And lame Hans said so! And he could not lie! 

The Soul of Greed 
(with chuckling malice) 
Spirit of Getting, you are losing him ! 

Erick 
(with ardor) 
I swear that I will not give up my quest! 

The Spirit of Getting 
( warily ) 
Let us flout him, or he will soon flout us. 

[Through the scene that follows they slip 
quietly out, unseen by Erick, who stands 
center, facing audience, arms outstretched. 

Erick 

Spirit of Christmas Joy, I call! I call 
Upon your name this night, for I would find you. 
You are not here beneath the roof of Getting, 
Yet I will find you though I search the world! 

(Turns: sees that he is left alone) 
Ah! They are gone! And I am left alone! 

{Calls) 
Selfishness! Getting! Greed! They do not answer! 



H2 A MASQUE OF CHRISTMAS 

The road is dark! What shall I have to light me? 
If I had but a flint — one spark to kindle! 

(Puts hand in his pocket and draws forth rose. 
A light shines from it) 
Why, 'tis the rose! The Christmas rose she gave me! 
She whose own name was Giving! Ah, how bright, 
How wondrously it shines ! 'Tis like a moonbeam ! 
It points the way before me! Will it lead? 

( The light from the rose shines as he turns toward 
door) 
Yea! Then I'll follow! O sweet rose, lead on, 
Until I find the Spirit of Christmas Joy! 

[As he starts to exit, The Spirit of Giving, a 
shadowy figure, appears at the edge of the 
parted stage curtains, which keep her out- 
side, yet near the home of Getting. She 
sings v,ery softly and sweetly, 

Xhe Spirit of Giving 

Follow the ray, 

With heart serene and humble, 

Through the dark night. 

Steep is the way, 

Yet steps can never stumble 

That follow— light! 
[Erick exits, The Spirit of Giving withdraws, 
slowly, silently as a shadow, and the cur- 
tain falls. 



SCENE III 

Erick* s home. 

At rise of curtain, Gerda, Preben, and Karen seated 
beneath tree. The lights are low, and the room 
in shadow, so that when Erick enters the light from the 
rose can still be seen shining for a moment before he 
puts it back in his wallet. Enter Erick. 

Erick 
The rose ... it led me! It led me home! 

[General chorus from the children as they 
gather about him. 

Gerda 

Oh, Erick, Erick! We've been back an hour! 
And we were waiting. There was no one home ! 

Preben 
What kept you, Erick? 

Gerda 

Brother, come and warm you! 

Erick 
Oh, Gerda, home is very, very lovely! 
I think there is no place so beautiful! 

i43 



i 4 4 A MASQUE OF CHRISTMAS 

It is as if I saw it with new eyes. 
Our little tree — with all the candles on it! 
If I could only give something more precious 
To our dear Mother than the cakes and herbs. 
I know! I'll give my rose! My Christmas rose! 
The Stranger-woman said that I might give it, 
Yea, or might keep it as did please me best. 
And so I choose to give. 

{Fastens rose to tree) 

Dear Christmas rose, 
Fairest of all I've ever seen, shine brightly! 
{Light shines from tree) 

Karen 
Look! What a glory streams about the tree! 

Gerda 
'Tis beautiful ! 'Tis more than candlelight ! 

Erick 
A moment since I felt no joy in Christmas, 
Now I could cry for very happiness. 

Gerda 
{simply) 
The Stranger-woman said that happiness 
Was giving. 

[Music is heard without, faintly. It grows 
nearer and clearer. The words are not dis- 
tinguishable. 



A MASQUE OF CHRISTMAS 145 

Gerda 

Hark! Our neighbors drawing near! 
Oh, Erick, Karen ! Run and welcome them ! 

[As Erick and Karen run to center, the curtains 
part and young and old begin to enter. 
Erick's mother, and a group of women, 
some with children in their arms: an old 
man: two young girls: more children, and 
in their midst, The Spirit of Giving, still 
clad in a long gray robe. As they enter 
and take their places, stage background, 
they sing a continuation of the music heard 
ere their coming: carol-singers enter and re- 
inforce with their voices. 

Christmas Eve hath come again — 

On each house and steeple 
Softly blue the twilight falls, 

Veils the hurrying people. 
See the little window-panes 

With candlelight a-glowing, 
While o'er roofs and winding streets 

Softly it is snowing! 
Ring, ring the Christmas bells, 

Call good folk together; 
For if all our hearts are warm, 

What care we for weather? 

Erick 

(to his mother) 
O Mother, darling! We have a surprise! 



146 A MASQUE OF CHRISTMAS 

Karen 
We've fashioned gifts for you! 

Erick 

And for the neighbors! 

Neighbors' Voices 
Look! Look! The tree! The rose! The light! 
Ah! Ah! 

Gerda 
And who shall give the gifts? 

The Spirit of Giving 

Wilt thou let me, 
E'en though I am a stranger ? 

[As she stands the light shines very brightly 
upon her. The plain gifts that were seen 
in the first scene are now augmented by 
gifts that sparkle gold and silver in the light. 

Neighbors 
{falling on their knees) 

Ah, the light 
About her brow! It is a miracle! 

« 
Erick 

(awed) 
Why, our poor gifts gleam gold and silver! Look! 



A MASQUE OF CHRISTMAS 147 

The Spirit of Giving 

Love makes them shine for those who have the eyes 
To see them rightly. Come, draw near, draw near. 

(She begins to distribute gifts from the tree. 
Light follows her hand as she does so) 

May happiness be in each heart this night! 

There is no gift that is too poor to give 

If love be in the giving. (To a mother) Peace to thee, 

(To another) 

And unto thee. 

(To a timid child) 

Come, flitterling, and take 
Thy gift. (Child takes it) And thou. And thou. 
And thou. 

A Woman 
What radiance streams about her! 



Another 
Is like an angel's. 



And her face 



The Spirit of Giving 

(to Erick's mother) 

Wilt thou take this rose 
That shines with Erick's love for thee? 



148 A MASQUE OF CHRISTMAS 

Neighbors 
(murmuring) 

Look ! Look ! 

[The Spirit of Giving has loosened her gray 

robe. It falls back, and she is seen to have 

a white robe with a mantle of scarlet, and 

a crown of stars. 

Erick 

" A long white robe," Hans said, " A crown of stars. 
" A mantle." Your name! Oh, tell me! Tell me! 

The Spirit of Giving 

Spirit of Giving am I called. But some 
Do call me by another title. Yea, 
To eyes that see and ears that hear I am 
The Spirit of Christmas Joy. 

[All look toward The Spirit of Christmas Joy, 
who stands with hands outstretched in 
greeting. The curtain falls. 

End of Masque 



THE SUN GODDESS 

(A Masque of Old Japan) 



CHARACTERS 

The Sun Goddess 
Usume, the Celestial Dancer 
Ito, a Cynic Philosopher 
Ha Sa, an Artisan 
Koto, a Priest 
O Ku Re, a Poet 
Akimo, a Young Man 
O Sana San 
Hasu } 

Osono V Maidens 
Toya j 

The Willow Maiden 
The Souls of the Wistaria 
The Rice Maidens 
The Souls of the Apple Blossoms 
The-Soul-of-All-the-Butterflies 
Other Maidens. Villagers. Children. 



THE SUN GODDESS 

The scene throughout the Masque is a woodland in 
old Japan. Pine trees at right, left, and background. 
Against the pines in background a stunted plum tree 
with white blossoms stands out sharply. At left there 
is a hillock rising abruptly out of the ground, its in- 
terior forming a cave. The mouth of the cave faces 
towards the right, and is curtained with swinging 
vines. 

The opening of the Masque is marked by the en- 
trance of Ha Sa from left, bearing with him the tools 
of his trade. He is a worker in metals, and has vari- 
ous flat brass and copper skillets for cooking. Also a 
large copper tray which he falls to polishing as soon as 
he is seated. 

Enter from the right Ito, the cynic philosopher, book 
in hand. He speaks pleasantly to Ha Sao 

Ito 
Ha Sa, what do you make? 

Ha Sa 

A mirror, Lord. 



And what is that ? 



Ito 
151 



152 THE SUN GODDESS 

Ha Sa 
Something to be adored 
By countless women. It reflects the face. (Shows it) 
The hair, the hands, the obi's subtle grace. 
Woman will love a mirror as her soul. 

Ito 

Hai ! She has none. Like a lacquered bowl 
Is woman, — empty, shallow, colored bright, 
To lure the foolish like Fox Fires at night. 
I would not offer homage unto one 
For all the gold that lies beneath the sun. 
Women are vain ! All women are vain ! 

Ha Sa 
Ai! 

Ito 
(turning) 
What is your plaint ? 

Ha Sa 

Lord, I complain 
Against this august world and its strange ways: 
I am a-weary of the way they praise 
Artists. And poets. Men who only rhyme 
Some foolish words together till they chime. 
While those who fashion things of use and sense 
Obtain no praise, and little recompense. 

[Ha Sa sits moodily, left, facing audience, and 
polishing mirror. Ito sits philosophically 



THE SUN GODDESS 153 

right, reading in a book from which he does 
not turn, no matter what goes on about him. 
Both are at the very front of the stage, and 
remain there, like a Japanese chorus. Enter 
from right, like a gay rainbow, children, 
maidens, villagers, including Akimo, Toya, 
O Sana San, Hasu, and Osono. The 
children carry toys, and run to the front of 
the stage four abreast, singing an old 
Japanese charm : 



Children 

Oh, weather be clear! 
Oh, weather be clear! 
Sun Goddess, draw near! 
Sun Goddess, draw near! 

Ha Sa 
{sourly) 
Lord, will you join the worshipers? 

Ito 

Not I! 

Ha Sa 
Nor I! 

[Toya comes down with some of the maidens. 



154 THE SUN GODDESS 

TOYA 

(to Osono) 
Osono, very like the sky 
Your robe is ! 

Osono 

(looking back) 

Hither comes the priest, Koto, 
And all the villagers and maids we know. 

[The priest crosses at the back of the stage from 
right to left, and disappears from view, 

O Sana San 

(explaining to a very little child) 

We worship the Sun Goddess. At her feast 
Shall gather here the highest and the least. 

Hasu 

Now the warm months have come — sweet time of year, 
When in the fields the tender herbs appear: 
When honorable rice doth quickly grow, 
Wistaria and cherry blossoms blow, 
Above the flowery garment the fields wear 
The august willow droops her long green hair, 
And Usume, celestial dancer, looks 
To see her image in the silver brooks. 

Toya 

Can any one the Sun Goddess behold? 
The-Never-To-Be-Praised-Enough ? 



THE SUN GODDESS 155 

Hasu 



(wisely) 

She cometh clad on her feast day 
To look on mortals. 



In gold 



Osono 

Yea, the legends say 
That sometimes on her feast-day she will pass 
Like any maid across the flower-starred grass. 

One of the Villagers 

Ai ! We are prepared if she should come. 

(Indicating garlands and musicians) 
Flowers and musicians. 

A Child 
(gleefully) 

And Taiko, the drum! 

Akimo 
(piously) 
The blessed light she sends to tree and vine ! 

One of the Villagers 
Come, it is time to worship at her shrine. 

[Villagers and maidens start to leave, slowly, 
towards left: but are arrested by a cry from 
Toya, who has seen the mirror Ha Sa is 
making. 



156 THE SUN GODDESS 

TOYA 

Now by the Weaving Lady, what is here? 
Oh, I can see my image! 'Tis as clear 
As in still water ! 

Ha Sa 
(dryly) 
'Tis a mirror. 

O Sana San 

Look! 
'Tis wonderful! 'Tis magic! Like a brook 
It shines! 

[All gather about in the greatest curiosity. 
Toy a takes the mirror from Ha Sa and 
holds it up. 

TOYA 

So fair! 
[The Sun Goddess, clad in gold, enters from 
background. She pauses on observing the 
throng, and calls from center: 

The Sun Goddess 
Sweet maidens! 

Hasu 
(gazing eagerly in mirror, while Akimo gazes at her) 

Let me see! 



THE SUN GODDESS 157 

The Sun Goddess 
(impatiently) 
I, the Sun Goddess, call ye! 

Osono 
(to Toy a) 

Nay, let me 
Set straight thy honorable hairpins! 

Villagers 

(with simple delight at Toya's beauty) 

Ah! 

The Sun Goddess 

(in anger) 

I call! 
Answer me! 

O Sana San 
(to Hasu, who is fastening chrysanthemums in her hair) 
Fasten them, or they will fall! 

The Sun Goddess 

(with a cry: outraged) 
Maidens/ 



158 THE SUN GODDESS 

OS0N0 
(innocently) 
Did some one call? 
[All turn, and see the Sun Goddess. They are 
overcome with dismay. 

O Sana San 
(with a gasp) 

The Sun Goddess! 
[All fall to their knees, and touch foreheads to 
the earth. 

Hasu 
Oh, August Lady 

The Sun Goddess 

Now in woe and stress 
Ye shall pay for this carelessness and slight. 
I leave the world forever, and my light 
Taken from earth means woe, and endless blight. 

O Sana San 

(as all remain kneeling) 
Augustness — ■ — 

The Sun Goddess 

Silence. To this cave I go, 
There to abide. (She moves toward left) 



THE SUN GODDESS 159 

Hasu 

{imploring) 



Supremeness- 



VlLLAGERS 

Woe! Ai! Woe! 
[The Sun Goddess parts the vines of the cave, 
enters, and the vines hide her, though she 
can dimly be seen from entrance. She is 
observing what goes on outside. The peo- 
ple rise from their knees. Akimo goes to- 
wards background, where he meets the priest 
who enters from left. Akimo talks to him 
in pantomime, explaining what has hap- 
pened. Meantime in foreground the maid- 
ens and villagers talk together. 

Toya 
{despairingly) 
We shall have darkened days and endless rain 
Unless we win the goddess back again. 

A Villager 
{seeing priest) 
The priest! With honored incense. 

Koto 

Low in prayer 
Let us now kneel, your folly to repair. 

{All fall on knees facing cave and touch the earth 
with their foreheads) 



160 THE SUN GODDESS 

August and beautiful, we lose thy light 
And our souls die like the faint wind of night. 
Let not thy endless curse on us be hurled. 
Take not away the sunshine of the world. 
We pray thee to return. {There is no answer) 

Akimo 
(awed) 
She doth not stir ! (J 11 rise) 

Koto 
Then let the little children plead with her. 

[All save the little children withdraw to right 
of stage, and stand watching. The chil- 
dren go near to the mouth of the cave. 
Leave their toys as an offering at one side 
of it, and then fall to their knees, put their 
little foreheads to the earth, and await a 
sign from the Sun Goddess. There is none. 
The children rise, and their elders come for- 
ward to meet them. General dejection has 
fallen on every one. 

Koto 
(gravely) 
She doth not answer. All the flowers will die — 
The trees — the harvests 

O Sana San 
( imploringly ) 

Goddess, hear our cry! 



THE SUN GODDESS 161 

Voices 
(faintly from background) 
And ours! 

O Sana San 

The souls of flowers 
Draw nigh. 

Hasu 
(from background) 
All growing things 
Come as with wings! 

[Enter from right, toward background, The 
Willow Maiden, tall, dressed in slashed 
green representing the long leaves of the 
willow. Under the leaves her robe is a 
green mist. It is worn long and straight, 
not in Japanese fashion. 

Toya 

The Willow Maiden pleads 
For all our needs! 

( The Willow Maiden stands with arms out- 
stretched towards the hidden Sun Goddess) 

The Willow Maiden 

August, the Willow Maiden cries to thee. 
Without thy light there will not be a tree. 

(No answer) 
She stirs not! Will her anger not abate? 

[The Rice Maidens, all in white, with wisps 



1 62 THE SUN GODDESS 

of pale-green leaves about them, enter from 
left, toward background. The Willow 
Maiden gives place to them as they stand 
in supplication. 

Koto 
Lo, the Rice Maidens come to supplicate! 

First Rice Maiden 
{speaking for the others) 
Without thy august presence the faint green 
Of growing rice will never more be seen 
By field or river's marge. Wilt thou forgive 
The mortals' folly, and so bid us live ? 

{There is no ansiver) 
She heeds not, though we prayed a lengthy while ! 

TOYA 
{timidly) 
An honorable dance might make her smile. 

[The Priest nods gravely. The musicians be- 
gin to play, and the Rice Maidens dance, 
ending the dance with arms outstretched in 
supplication. There is no answer. The 
Rice Maidens withdraw and stand at right. 
The Souls of the Wistaria enter clad in pale 
purple, over which swing long green vines 
with the blossoms of the Wistaria on them. 



THE SUN GODDESS 163 

Koto 
The Souls of the Wistaria ! 

A Soul of the Wistaria 
{speaking for the others) 

We pray 
Thou wilt not take from us the light of day! 

{They dance before the Sun Goddess: but she 
does not answer) 
Ai! Ai! She will not look nor hear! 

They retire to right, near the Rice Maidens. 
Enter from background the Souls of the 
Cherry Blossoms, like a pale-pink mist. 

Koto 

The Souls of Cherry Blossoms now appear 

To dance for her. 

[The Souls of the Cherry Blossoms weave a 
dance before the Sun Goddess, strewing 
pink petals as they do so. But she makes no 
answer. 

Osono 

{sorrowfully) 

She doth not even stir! 

[There enters from background a figure dressed 
in midnight blue, with a robe of royal blue 
caught to her hands. When the arms are 
lifted it is seen that this robe is painted 



1 64 THE SUN GODDESS 

with gorgeous purpled eyes, and veined with 
gold. It is The-Soul-of-All-the-Butterflies. 



The-Soul-of-All-the-Butterflies 
I am The-Soul-of-All-the-Butterflies 
Pleading to thee. Ah, great one, hear our cries! 
Supremeness ! Lo, without thy light we perish ! 

(There is no answer) 
\The-Soul-of-All-the-Butter flies slowly with- 
draws and joins the Souls of the Cherry 
Blossoms. A moment afterwards a figure in 
celestial blue and silver comes from back- 
ground in Japanese dress, with silver obi. 
She comes directly to the cave, and speaks 
sweetly, but with less of supplicating hum- 
bleness than the others. It is JJsume. 

USUME 

Great Sun Goddess, no more thine anger cherish. 

I, the Celestial Dancer, come to plead 

For these poor mortals, and their bitter need, 

And I will plead in dancing. Augustness, pray 

Look forth and see the dance of Usume, 

As light as foam on honorable wave! 

( Usume dances, but the Sun Goddess gives no answer) 

She doth not heed me! And I cannot save! 

[JJsume withdraws to right, the people making 
obeisance as she passes. 



THE SUN GODDESS 165 

Hasu 

(wailing) 
Without the august shining of her light 
We are condemned to everlasting night! 

Akimo 
We perish utterly. The sands are run. 
We must cry Sayonara to the sun! 

Usume 
(to Koto) 
Send quickly for the poet, O Ku Re: 
His gift of words may be an aid to thee. 

[Koto turns to Akimo, and gives him the mes- 
sage in pantomime, while the four erring 
maidens once more prostrate themselves be- 
fore the angered goddess. Exit Akimo 
swiftly, right. 

O Sana San 
Goddess, have mercy on us, and forgive. 
Supremeness! Pity! Let thy suppliants live. 

Hasu 
We meant not disrespect. 'Twas carelessness. 

Toya 
Oh, More-Than-Golden-One, heed our distress. 

[There is no answer. The Maidens rise as 



1 66 THE SUN GODDESS 

O Ku Re, the poet, enters in great haste, 
followed by Akimo. 

O Ku Re 
{to Koto) 
Why hast thou sent for me, oh, Excellent One? 

Koto 

O Ku Re, grievous rudeness hath been done 
To the Sun Goddess, and she hath withdrawn 
Into that cave. She, who doth bring the dawn 
And shines all day, hath taken away the sun. 

O Ku Re 

But how came all this folly to be done? 

Toya 

{wailing and indicating mirror which Ha Sa holds) 
We looked in this, and could not turn away ! 

Maidens 
{with great sorrow) 
Ai! Ai! 

Koto 

O is there not some way 
To lure the radiant goddess of the sky 
Out of that cave ? 



THE SUN GODDESS 167 

O Ku Re 

Excellence, I will try. 
(He goes swiftly to Ha Sa, takes the mirror 
from him, and holding it before the cave, 
improvises verses) 

Golden as the light of noon, 
Slender as the crescent moon, 
Sweet as Spring winds blowing through 
Tossing forests of bamboo. 
Goddess, do not hide the light 
Of thy beauty from our sight. 

(The vines that shadow the cave stir: it is evident 
that the Goddess listens) 
Couldst thou see what thou hast taken 
Pity in thy heart would waken. 
(He tilts the mirror enticingly: the vines stir yet more) 
If my words can reach thy heart, 
Look and see how fair thou art. 

(The slender fingers of the Goddess part the vines: 
she looks out and faces the mirror) 
Hands like two white butterflies 
Stir the vines that hide her eyes. 
Honorable star-shine seems 
Dull beside her eyes' bright gleams. 

( The Sun Goddess gazes at the mirror entranced. 
O Ku Re steps backward, holding the mir- 
ror before the Sun Goddess. She uncon- 
sciously follows him) 



168 THE SUN GODDESS 

August cherry hangs its head 
At thy lips' celestial red ! 

(As the Sun Goddess is drawn further and further 
away from the cave, maidens run softly to 
the front of the cave, blocking its entrance 
so that the Sun Goddess cannot return to it) 

Brow far whiter than a cloud; 
E'en the mirror speaks aloud: 
" Since I have reflected thee 
Let none other look in me ! " 

[O Ku Re lowers the mirror and faces the Sun 
Goddess. 

Murmurs of the People 
She comes ! Augustness ! Will she smile ? 

The Sun Goddess 

(hearing them, but speaking to O Ku Re) 

Yea, lord. 
All is forgiven. (To the people) Sunlight is restored 
To all the earth. (General delight) Sweet poet, thou 

shalt be 
My poet always. Thou shalt sing of me 
Throughout Japan. ' 

O Ku Re 

(bowing low) 
Yea, Great Imperialness! 



THE SUN GODDESS 169 

Koto 

Maidens, bring garlands for the Sun Goddess ! 
Goddess and Poet! Let the Kingdom ring 
With all the august praises we shall sing! 

{Maidens strew flowers in front of the Sun 
Goddess) 

[O Ku Re gives the mirror to Toy a, who re- 
turns it quickly to Ha Sa. The Sun God- 
dess, attended by the poet, O Ku Re, exits, 
center background, with the Souls of the 
Flowers attending her, and the villagers fol- 
lowing her. The stage is left vacant save 
for Ito and Ha Sa, who still sit at right and 
left like stone gods. 

Ha Sa 

(sourly) 

Lord, to success the way lies very clear. 
Say to thy listeners what they long to hear. 
I made the mirror: but he gets the gain. 

Ito 
(with supreme disgust) 
Goddess or mortal, all women are vain! 

The Masque Ends 



MASQUE COSTUMES 



MASQUE COSTUMES 

As the poetic drama has almost vanished from our 
stage the Masque and pageant remain the only form 
of dramatic art where the costumes may intrigue the 
imagination by their color, their line, their poetic sig- 
nificance, or historic suggestion. Here the dramatic 
designer is free to experiment with rich, opulent color 
schemes or with cool, dim Monet-like effects, both 
mediums being obtained through the simplest possible 
means. 

In costuming the Masques which this volume con- 
tains absolute freedom has been given the producer. 
That costumes are chosen with reference to their back- 
ground is too well-known an axiom to need further 
comment. Therefore, it is not always the producer 
who reigns supreme in choosing the dramatic designs: 
the scene setting is the supreme dictator. If the Masque 
is to be given out of doors against a green back- 
ground with strong effects of sunlight and shadow, it 
will require quite a different color scheme from the 
Masque that is played against a background of nut- 
brown curtains. So, too, a Masque that is acted out 
of doors, against the red and gold of Autumn, will 
require quite another color scheme from the Masque 
that is staged in the open in midsummer. 

173 



174 MASQUE COSTUMES 

A few suggestions for the individual Masques in- 
cluded in this volume follow herewith. 

As has been suggested, the Court in " The Forest 
Princess " wear dully gorgeous colors ; the peasant 
groups wear warm earth colors: the Tree Spirits wear 
green. Imagination can be brought to bear on the 
varying green. The Pine in dark green ; the Spirit of 
the Poplar, faint green, a-twinkle with faint-green 
leaves that have a silver lining. The Birch in green, 
with girdle of white flecked with brown, to represent 
birch-bark. The Locust can have pale-brown buds, 
the Maple scarlet and yellow tassels, and so on. The 
Princess should wear deep rich rose; Prince Aladore, 
rich blue, tattered and weather-streaked; Prince JJlric, 
rich purple with orange glints. 

For " The Gift of Time " some of the costumes 
have already been indicated. The Mortal may wear 
a white tunic with a blue over-robe. The costumes 
for the Hours have been suggested. The costumes for 
the Months may be as follows: A kingly white robe 
edged with ermine and silver, for January. February 
may be a cowled figure in a gray robe and over-robe. 
The over-robe is lined in pale blue. March may be 
a youth in a brown shepherd's tunic, with sandals 
laced in brown, and a leather girdle. A sheep-skin or 
short robe of dark fur hung from his shoulders. A 
pipe on which he blows. April may be a young girl, in 
a pale-green robe, with a crown of little new leaves on 
her hair, and a silver girdle. May could be imper- 
sonated by a young girl in a white robe with an apple- 



MASQUE COSTUMES 175 

green over-robe lined in apple-blossom pink. Carries 
a blossoming bough in her hand. June wears a pale- 
pink robe, with a dark-green girdle. A green over- 
robe lined in apple-blossom pink. A wreath of roses 
in her hair, and a long-stemmed rose in her hand. 
July may be a woman in a robe of strong rose color, rose 
scarlet. In her arms a sheaf of wheat, oats, barley, 
that is almost ripe. August may be a woman clad in 
wheat-yellow, with a crown of wheat on her hair, and 
some cornstalks in her hand. September may be a 
woman in dark corn-yellow, with a brown over-robe, 
and in her hand goldenrod and purple asters. October 
may be a youth in bright yellow with a scarlet over- 
robe. He is crowned with a chaplet of scarlet and yel- 
low leaves. He carries a wide, shallow bowl of orange- 
yellow heaped high with red apples, purple grapes, and 
plums. November is a man in brown, with a dark 
cloud-purple over-robe. He carries a leafless branch 
in his hand. December is a man in flowing white 
robes, austere and dignified. He wears a rich crimson 
over-robe, and a white frosty crown with a single 
silver star. The New Year wears a white tunic and a 
laurel crown. 

The costumes for " The Masque of Conservation " 
have been more fully indicated than any of the others. 
They should be designed always with a view to hav- 
ing them light and flowing in line and substance. They 
are essentially Greek. 

The costumes for " The Masque of Pomona " have 



176 MASQUE COSTUMES 

also been fully indicated, and are Roman in their sim- 
plicity and color. 

The costumes for " A Christmas Masque " are 
medieval and Danish, but this can be suggested rather 
than given in totality. There should simply be the 
effect of peasant and morality play costumes. Karen 
wears a peasant dress of dark green; Gerda a peasant 
dress of plum color; Preben a. peasant suit of warm 
saffron-brown. Erick wears blue, rather bright, and 
has a gray cloak for his outdoor adventuring. The 
Spirit of Giving wears warm gray, and when this robe 
falls back it reveals her dressed in a robe of rich, warm 
crimson. The Spirit of Getting wears yellow, trimmed 
with black fur. The costume of Gluttony is indicated 
in the text. It should give the suggestion of a fool's cos- 
tume, lacking only the bells. Greed wears slate-gray. 
The neighbors who sing carols wear blues, browns, 
purples, and black. 

The costumes for " The Sun Goddess " are fully 
indicated, and run the gamut of the color scale. 

For color schemes both quiet and gorgeous, Boutet 
de Monvel's Jeanne D 'Arc is always a help; and for 
black-and-white drawings, with suggestions for fairy or 
symbolic costumes, as well as for patterns and discus- 
sion of material, there is C. D. Mackay's Costumes 
and Scenery for Amateurs. 



MASQUE MUSIC 



MASQUE MUSIC 

The mood of the Masque is so largely created by 
the music that accompanies it that a few suggestions 
are given here, though it is keenly realized that the 
dramatic director will have ideas along these lines, and 
is in small need of assistance. 

The ideal musical setting for a Masque is one that 
is written around the theme of the Masque, reflecting 
all that the Masque strives to show. But if this music 
is obtainable only in manuscript form, a difficulty rises 
in the path of the producer. It is, therefore, better to 
take music already published and easily available in 
any part of the country. 

The music suggested here will fit the requirements 
of either small or symphony orchestras, since it is 
scored for both. It can even be had for a piano and 
a few strings. Simple music has been chosen purposely; 
but the shimmering difficulties of a Debussy, a Ravel, 
or a Strauss can be easily substituted by the director 
who is blessed with an orchestra that can master these 
technicalities. But the list suggested here is average 
music for average orchestra. 

The musical setting for " The Forest Princess " may 
be as follows : The entrance of the Court to the March 
from A'ida. For the peasant dances, Edward German's 
Henry Eighth Suite. For the Summons to the Spirits 

i79 



180 MASQUE MUSIC 

of the Trees the second part of Weber's Overture to 
Euyranthe. The Tree Spirits also enter to this. For 
their dance about the cradled Princess, Idyllo, by 
Theodore Lack. For the sorrowful withdrawal of all 
from stage, Gounod's Funeral March of a Marionette. 
For the dance of the lords and ladies of the Court, 
Grieg's Saraband from the Holberg Suite. For the 
dance of the Spirits of the Trees in the third act, 
Dvorak's Humoresque. For music for the exit of all 
the characters from the stage, The Kiss Waltz, by 
Arditi. 

As setting for " The Gift of Time " (the Christmas 
Masque), the following is suggested. For the dance of 
the Hours, The Dance of the Hours from La Gia- 
conda. For the dance of the Months, The Scarf 
Dance, by Chaminade. 

The music for " The Masque of Conservation " 
may be as follows: For first dance of the Dryads 
The Waltz of the Hours, from the Ballet Coppelia, 
by Leo Delibes. For the second dance, The Pizzicati 
Polka, from the Ballet Sylvia, by Leo Delibes. For 
the entrance of the broken Dryads and the mournful 
River Gods, The Death of Ase, from the Peer Gynt 
Suite, by Grieg. For the final dance of joy, Men- 
delssohn's Spring Song. 

For the " Masque of Pomona," the shepherd dance 
may be the Shepherd Dance from the Henry Eighth 
Suite, by Edward German; the dance by maidens, 
The Barcarolle from The Tales of Hoffmann. 

For curtain music to " A Masque of Christmas " 



MASQUE MUSIC 181 

have a medley of Danish folk-dance airs, and for the 
carol setting use the hymn which can be found in any 
Episcopal hymnbook, beginning, " Now the day is over, 
Night is drawing nigh." 

For the " Masque of The Sun Goddess " use the 
Mikado music from Gilbert and Sullivan's opera of 
that name. It may not be truly Japanese, but it is 
actable and danceable. 



BOOKS OF PLAYS FOR YOUNG FOLK 

DESIGNED FOR USE IN THE SCHOOLS 
By CONSTANCE D'ARCY MACKAY 
PATRIOTIC PLAYS AND PAGEANTS 

Pageant of Patriotism (Outdoor): — Prologue by the Spirit 
of Patriotism, *Princess Pocahontas, Pilgrim Interlude, Ferry Farm 
Episode, *George Washington's Fortune, *Daniel Boone : Patriot, 
Benjamin Franklin Episode, Abraham Lincoln Episode, Final 
Tableau, March of Players. 

Pageant of Patriotism (Indoor) a variation of the above. 

Hawthorne Pageant (for Outdoor or Indoor Production): — 
Chorus of Spirits of the Old Manse, Prologue by the Muse of Haw- 
thorne, First Episode (In Witchcraft Days), Dance Interlude, 
Second Episode (Merrymount), Procession of Player Folk. 

The portions of the pageants marked with a star (*) are sepa- 
rate, one-act plays especially suitable for separate performance in 
school and home. There are full directions for simple costumes, 
scenes, and staging. i2mo. $1.35 net. 

THE HOUSE OF THE HEART 

Short plays in verse to be acted by children of fourteen or 
younger, fi.ionet, by mail, $1.15. 

Includes :— " The House of the Heart" (Morality Play)— 
"The Enchanted Garden" (Flower Play— "A Little Pilgrim's 
Progress" (Morality Play. — "A Pageant of Hours" (To be given 
Out of Doors)— "On Christmas Eve." "The Elf Child." "The 
Princess and the Pixies." "The Christmas Guest." (Miracle 
Play.) Etc. 

"An addition to child drama which has been sorely needed." — Boston 
Transcript. 

THE SILVER THREAD 

And Other Folk Plays. $1.10 net ; by mail, $1.20. 

Contents :—" The Silver Thread" (Cornish); "The Forest 
Spring" (Italian); " The Foam Maiden " (Celtic); "Troll Magic" 
(Norwegian); "The Three Wishes" (French); "A Brewing of 
Brains" (English); "Siegfried" (German); "The Snow Witch" 
(Russian). 



HENRY HOLT AND COMPANY 

34 West 33D St. New York 



TWO BOOKS BY CONSTANCE D'ARCY MACKAY 



COSTUMES AND SCENERY FOR AMATEURS 

A Practical Working Handbook with over 70 illustrations and 
full index. 258 pp. 12010. $1.75 net. 

A book that has long been needed. It concludes chap- 
ters on Amateurs and the New Stage Art, Costumes, and 
Scenery, but consists mainly of simple outline designs for 
costumes for historical plays, particularly American 
Pageants, folk, fairy, and romantic plays — also of scenes, 
including interiors, exteriors, and a scheme for a Greek 
Theatre, all drawn to scale. Throughout the book color 
schemes, economy, and simplicity are kept constantly in 
view, and ingenious ways are given to adapt the same 
costumes or scenes to several different uses. 

HOW TO PRODUCE CHILDREN'S PLAYS 

The author is a recognized authority on the production 
of plays and pageants in the public schools, and combines 
enthusiastic sympathy with sound, practical instructions. 
She tells both how to inspire and care for the young actor, 
how to make costumes, properties, scenery, where to find 
designs for them, what music to use, etc., etc. She pre- 
faces it all with an interesting historical sketch of the 
plays-for-children movement, includes elaborate detailed 
analyses of performances of Browning's Pied Piper and 
Rosetti's Pageant of the Months, and concludes with 
numerous valuable analytical lists of plays for various 
grades and occasions. $1.20 net. 

New York Times Review: "It will be useful . . . practical 
advice." 

Magazine of General Federation of Women's Clubs: "There 
seems to be nothing she has forgotten to mention. Every club 
program chairman should have it." 



HENRY HOLT AND COMPANY 

PUBLISHERS (xii '15) NEW YORK 



SHORT PLAYS ABOUT FAMOUS AUTHORS 

(Goldsmith, Dickens, Heine, Fannie Burney , Shakespeare) 

By Maude Morrison Frank. $1.00 net. 

The Mistake at the Manor shows the fifteen-year-old 
Goldsmith in the midst of the humorous incident in his life which 
later formed the basis of "She Stoops to Conquer." 

A Christmas Eve With Charles Dickens reveals the author 
as a poor factory boy in a lodging-house, dreaming of an old- 
time family Christmas. 

When Heine was Twenty-one dramatizes the early disobe- 
dience of the author in writing poetry against his uncle's orders. 

Miss Burney at Court deals with an interesting incident in 
the life of the author of "Evelina" when she was at the Court 
of George III. 

The Fairies' Plea, which is an adaptation of Thomas Hood's 
poem, shows Shakespeare intervening to save the fairies from 
the scythe of Time. 

Designed in general for young people near enough to the 
college age to feel an interest in the personal and human as- 
pects of literature, but the last two could easily be handled by 
younger actors. They can successfully be given by groups or 
societies of young people without the aid of a professional coach. 

LITTLE PLAYS FROM AMERICAN HISTORY 
FOR YOUNG FOLKS 

By Alice Johnstone Walker. $1.00 net. 

Hiding the Regicides, a number of brief and stirring episodes, 
concerning the pursuit of Colonels Whalley and Goff by the 
officers of Charles II at New Haven in old colony days. 

Mrs. Murray's Dinner Party, in three acts, is a lively comedy 
about a Patriot hostess and British Officers in Revolutionary 
Days. 

Scenes from Lincoln's Time; the martyred President does not 
himself appear. They cover Lincoln's helping a little girl with 
her trunk, women preparing lint for the wounded, a visit to the 
White House of an important delegation from New York, and 
of the mother of a soldier boy sentenced to death — and the com- 
ing of the army of liberation to the darkies. 

Tho big events are touched upon, the mounting of all these 
little plays is simplicity itself, and they have stood the test of 
frequent school performance. 

HENRY HOLT AND COMPANY 

Publishers New York 



Fanny Cannon's WRITING AND SELLING A PLAY 
Probably the most common-sense and practical book on 
its subject, which the author knows from the inside as 
actress, manageress, playwright, and "play-doctor." She 
was for years Vice-President of The Actors' Society of 
America. 

This book warns the writer of the many "breaks" that 
cause rejection, gives detailed constructive advice, tells 
him how to look out for his rights, includes a model con- 
tract, two detailed scenarios, and a bibliography of refer- 
ence books and plays. i2mo. With full index. $1.50 net. 

Hartford Courant: ". . . this rare book . . . the author has 
the lessons she would convey at tongue's end and in orderly 
brain arrangement. . . . She teaches so lucidly and with per- 
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mend it as fulfilling its purpose admirably." 

Archibald Henderson's THE CHANGING DRAMA 

By the author of George Bernard Shaw: His Life and Works, 
European Dramatists, etc. 321 pp. i2mo. $1.50 net. 

It includes: Drama in the New Age; The New Criti- 
cism and New Ethics; Science and the New Drama; 
Realism and the Pulpit Stage; Naturalism and the Free 
Theatre; The Battle with Illusions; The Ancient Bond- 
age and the New Freedom; The New Technic; The Play 
and the Reader; The Newer Tendencies, etc. * * * 
Descriptive circular with sample pages on application. 

New York Tribune: ". . . Deserves the serious attention of 
all students of the modern drama. . . . The first adequate sur- 
vey of that drama's linked conscious effort, the world over, to 
hold up the mirror to our new consciousness of individual free- 
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. . . not only the first book in its field; in the completeness of 
its scope, the scholarly, well-balanced thoroughness of the treat- 
ment of its material, it is likely to remain the standard work as 
well for some time to come . . . one of the small number of 
books on the modern drama which the serious student cannot 
afford to leave unread." 

HENRY HOLT AND COMPANY 
PUBLISHERS tfEW YORK 



186 













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